|
|
|
|
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 High Alps,Glacier and Snowy Peaks mk185
1919
Oil on canvas
73x100cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton The Beach at Honfleur mk185
1919
Oil on canvas
54x81cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Cagne Valley mk185
1921
Oil on canvas
38.5x55cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Path in the Heathland mk185
1917
Oil on canvas
60x92cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton The Dordogne at Carennac mk185
1928
Oil on canvas
73x60cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Sandbanks on the Lore mk185
1923
Oil on canvas
73x100cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Undergrowth,Bois de Boulogne mk185
1925
Oil on canvas
73x60cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Roger Liberates Angelica mk185
1907
Oil on canvas
80x100cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Bathing on a Summer Evening mk185
1892
Oil on canvas
97x131cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Antique Evening mk185
1904
Oil on canvas
92x142cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Pentheus mk185
1904
Oil on canvas
93x142cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Hate mk185
1908
Oil on canvas
206x146cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton The Rape of Europe mk185
1908
Oil on canvas
130x162cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Perseus Slays the Dragon mk185
1910
Oil on canvas
160x225cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton The Slaying of Orpheus mk185
1914
Oil on canvas
250x200cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Man and Woman mk185
1913
Oil on canvas
200x250cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Andromeda mk185
1918
Oil on canvas
100x81.1cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Chained Andromeda mk185
1925
Oil on canvas
73x91cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Four Torsos mk185
1916
Oil on canvas
92x72.5cm
|
|
|
|
|
|
|
|
|
|
Felix Vallotton Self portrait, Self portrait, 1885, oil on canvas, by F??lix Vallotton
|
|
|
|
|
|
|
|
| |
|
|
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.
|
|
|
|
|
|