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Oil Paintings
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Felix Vallotton 1865-1925was a Swiss painter and printmaker associated with Les Nabis. He was an important figure in the development of the modern woodcut. He was born into a conservative middle class family in Lausanne, and there he attended College Cantonal, graduating with a degree in classical studies in 1882. In that year he moved to Paris to study art under Jules Joseph Lefebvre and Gustave Boulanger at the Academie Julian. He spent many hours in the Louvre, where he greatly admired the works of Holbein, Derer and Ingres; these artists would remain exemplars for Vallotton throughout his life.[1] His earliest paintings, such as the Ingresque Portrait of Monsieur Ursenbach (1885), are firmly rooted in the academic tradition, and his self portrait of 1885 (seen at right) received an honorable mention at the Salon des artistes français in 1886. During the following decade Vallotton painted, wrote art criticism and made a number of prints. In 1891 he executed his first woodcut, a portrait of Paul Verlaine. The many woodcuts he produced during the 1890s were widely disseminated in periodicals and books in Europe as well as in the United States, and were recognized as radically innovative in printmaking. They established Vallotton as a leader in the revival of true woodcut as an artistic medium; in the western world, the relief print, in the form of commercial wood engraving, had long been mainly utilized unimaginatively as a medium for the reproduction of drawn or painted images and, latterly, photographs. Vallotton's starkly reductive woodcut style features large masses of undifferentiated black and areas of unmodulated white. While emphasizing outline and flat patterns, Vallotton generally made no use of the gradations and modeling traditionally produced by hatching. The influences of post-Impressionism, symbolism and the Japanese woodcut are apparent; a large exhibition of ukiyo-e prints had been presented at the École des Beaux-Arts in 1890, and Vallotton, like many artists of his era an enthusiast of Japonism, collected these prints. He depicted street crowds and demonstrations including several scenes of police attacking anarchists bathing women, portrait heads, and other subjects which he treated with a sardonic humor. His graphic art reached its highest development in Intimit's (Intimacies), a series of ten interiors published in 1898 by the Revue Blanche, which deal with tension between men and women. Vallotton's prints have been suggested as a significant influence on the graphic art of Edvard Munch, Aubrey Beardsley, and Ernst Ludwig Kirchner .By 1892 he was affiliated with Les Nabis, a group of young artists that included Pierre Bonnard, Ker-Xavier Roussel, Maurice Denis, and Edouard Vuillard, with whom Vallotton was to form a lifelong friendship. During the 1890s, when Vallotton was closely allied with the avant-garde, his paintings reflected the style of his woodcuts, with flat areas of color, hard edges, and simplification of detail. |
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Felix Vallotton Dinner by Lamplight,1899
1' 10 1/2'' x 2' 11 1/4''(57 x 89.5 cm)
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Felix Vallotton Moonlight ca 1895
10 3/4'' x 1' 4 1/4''(27 x 41 cm)
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Felix Vallotton The ball corner of the park,Child Playing with Ball,1899
1' 7'' x 2'(48 x 61 cm)Bequest of Carle Dreyfus,1953
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Felix Vallotton Poker 1902
1'8 3/4'' x 2' 2 1/2''(52.5 x 67.5 cm)
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Felix Vallotton The Third Gallery at the Theatre du Chatelet 1895
1' 7 1/2'' x 2'(49.5 x 61.5 cm)Bequest of Carle Dreyfus,1953
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Felix Vallotton Mme.Felix Vallotton 1899
1' 11'' x 1' 7 3/4''(58.5 x 50 cm)Gift of Mr.and Mrs.Gaston Bernheim de Villers,1953
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Felix Vallotton Marthe Mellot 1906
Pseudonym of Alfred Natanson
2' 8'' x 2' 1 1/2''(81.5 x 65 cm)Gift of George Moos,1951
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Felix Vallotton Alfred Athis 1906
Pseudonym of Alfred Natanson
2' 8'' x 2' 1 1/2''(81.5 x 65 cm)Gift of George Moos,1951
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Felix Vallotton Mon Portrait mk52
1885
Oil on canvas
70x55cm
Musee Cantonal des Beaux-Arts,Lausanne
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Felix Vallotton Woman at the Piano mk65
Oil on canvas
17x22 1/2"
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Felix Vallotton The Poker Game mk68
Oil on canvas
Paris,Orsay Museum
1902
France
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Felix Vallotton Woman in a Black Hat mk79
1908
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Felix Vallotton The Kiss mk185
1898
Tempera on cardboard.
30x37.5cm
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Felix Vallotton The Lie mk185
1898
oil on cardboard
24x33.4cm
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Felix Vallotton Nude Seated in a red armchair mk185
1897
Oil on cardboard
28x28cm
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Felix Vallotton Female nude,Green Curtain mk185
1897
Oil on cardboard
60x47.8cm
Lausanne,Musee cantonal des Beaux-Arts
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Felix Vallotton Waiting mk185
Tempera on cardboard
35x50cm
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Felix Vallotton Woman combing her hair in the bathroom mk185
1897
Tempera on cardboard
59x36cm
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Felix Vallotton Interior with red armchair and figure mk185
1899
Gouache on cardboard
46.5x59.5cm
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Felix Vallotton The Visit mk185
1899
Gouache on cardboard
55.5x87cm
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Felix Vallotton
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1865-1925was a Swiss painter and printmaker associated with Les Nabis. He was an important figure in the development of the modern woodcut. He was born into a conservative middle class family in Lausanne, and there he attended College Cantonal, graduating with a degree in classical studies in 1882. In that year he moved to Paris to study art under Jules Joseph Lefebvre and Gustave Boulanger at the Academie Julian. He spent many hours in the Louvre, where he greatly admired the works of Holbein, Derer and Ingres; these artists would remain exemplars for Vallotton throughout his life.[1] His earliest paintings, such as the Ingresque Portrait of Monsieur Ursenbach (1885), are firmly rooted in the academic tradition, and his self portrait of 1885 (seen at right) received an honorable mention at the Salon des artistes français in 1886. During the following decade Vallotton painted, wrote art criticism and made a number of prints. In 1891 he executed his first woodcut, a portrait of Paul Verlaine. The many woodcuts he produced during the 1890s were widely disseminated in periodicals and books in Europe as well as in the United States, and were recognized as radically innovative in printmaking. They established Vallotton as a leader in the revival of true woodcut as an artistic medium; in the western world, the relief print, in the form of commercial wood engraving, had long been mainly utilized unimaginatively as a medium for the reproduction of drawn or painted images and, latterly, photographs. Vallotton's starkly reductive woodcut style features large masses of undifferentiated black and areas of unmodulated white. While emphasizing outline and flat patterns, Vallotton generally made no use of the gradations and modeling traditionally produced by hatching. The influences of post-Impressionism, symbolism and the Japanese woodcut are apparent; a large exhibition of ukiyo-e prints had been presented at the École des Beaux-Arts in 1890, and Vallotton, like many artists of his era an enthusiast of Japonism, collected these prints. He depicted street crowds and demonstrations including several scenes of police attacking anarchists bathing women, portrait heads, and other subjects which he treated with a sardonic humor. His graphic art reached its highest development in Intimit's (Intimacies), a series of ten interiors published in 1898 by the Revue Blanche, which deal with tension between men and women. Vallotton's prints have been suggested as a significant influence on the graphic art of Edvard Munch, Aubrey Beardsley, and Ernst Ludwig Kirchner .By 1892 he was affiliated with Les Nabis, a group of young artists that included Pierre Bonnard, Ker-Xavier Roussel, Maurice Denis, and Edouard Vuillard, with whom Vallotton was to form a lifelong friendship. During the 1890s, when Vallotton was closely allied with the avant-garde, his paintings reflected the style of his woodcuts, with flat areas of color, hard edges, and simplification of detail.
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