|
|
|
|
Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
|
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. |
|
|
|
|
|
|
Felix Vallotton Dinner,Light Effect mk186
Oil on cardboard
57x89.5cm
Musee d'Orsay,Paris
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Gabrielle Vallotton at her Dressing Table mk185
1899
Tempera on cardboard
57.5x78cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Interior with Woman in red mk185
1903
Oil on canvas
92.5x70.5cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Gabrielle Vallotton in the Studio mk185
1902
Oil on canvas
69x54cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Woman Undressing mk186
Oil on cardboard
55x30.5cm
Musee d'Orsay,Paris
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Woman Searching through a cupboard mk185
1901
oil on canvas
78x40cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Self-Portrait at the Age of Twenty mk185
1885
oil on canvas
70x55.2cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Monsieur Ursenbach mk185
1885
Oil on canvas
97x130cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Felix Jasinski Holding His Hat mk185
1887
Oil on canvas
65.5x60.5cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Marthe Mellot mk185
1898
oil on canvas
73x60
Kunsthaus Zurich
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Portrait decoratif of Hector Berlioz mk185
1902
Oil on cardboard
105x75cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Portrait decoratif of Charles Baudelaire mk185
1901
Oil on cardboard
79x68cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Portrait decoratif of Victor Hugo mk185
Oil on cardboard
76x57cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Portrait decoratif of Fyodor Dostoevsky mk185
1901
Oil on cardboard
78.5x58cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Portrait decoratif of Paul Verlaine mk186
Oil on cardboard
73x83cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Portrait decoratif of Emile Zola mk185
1901
Oil on cardboard
75x63cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton The Five Painters mk185
1902/03
Oil on canvas
145x187cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton The Baltimore Musuem of Art mk185
1907
100.3x81.2cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Still life with Cucumbers mk185
1911
Oil on canvas
46x55cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Woman Reading mk185
1906
Oil on canvas
90x116cm
|
|
|
|
|
|
|
|
| |
|
|
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.
|
|
|
|
|
|