Félix Vallotton

Félix Edouard Vallotton (December 28 1865–December 29 1925) was a Swiss painter and printmaker associated with Les Nabis. He was an important figure in the development of the modern woodcut.

Life and work

He was born into a conservative middle class family in Lausanne, and there he attended Collège 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 Académie Julian. He spent many hours in the Louvre, where he greatly admired the works of Holbein, Dürer and Ingres; these artists would remain exemplars for Vallotton throughout his life. [St. James 1978, p. 6] 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. [St. James 1978, p.5] 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. [St. James 1978, p.9] 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 "Intimités (Intimacies)", a series of ten interiors published in 1898 by the "Revue Blanche", which deal with tension between men and women. [Newman 1991, p. 76] Vallotton's prints have been suggested as a significant influence on the graphic art of Edvard Munch, Aubrey Beardsley, and Ernst Ludwig Kirchner. [St. James 1978, p. 24]
[
woodcut from the series "Intimités", 1898]

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. His subjects included genre scenes, portraits and nudes. Examples of his Nabi style are the deliberately awkward "Bathers on a Summer Evening" (1892-93), now in the Kunsthaus Zürich, and the symbolist "Moonlight" (1895), in the Musée d'Orsay.

Around 1899 his printmaking activity diminished as he concentrated on painting, developing a sober, often bitter realism independently of the artistic mainstream. His "Portrait of Gertrude Stein" (1907) was painted as an apparent response to Picasso's portrait of the previous year, and in "The Autobiography of Alice B. Toklas" Stein described the very methodical way in which Vallotton painted it, working from top to bottom as if lowering a curtain across the canvas.

Vallotton's paintings of the post-Nabi period found admirers, and were generally respected for their truthfulness and their technical qualities, but the severity of his style was frequently criticized. [Ducrey 1989, p. 12] Typical is the reaction of the critic in the March 23 1910 issue of "Neue Zürcher Zeitung" who complained that Vallotton "paints like a policeman, like someone whose job it is to catch forms and colors. Everything creaks with an intolerable dryness ... the colors lack all joyfulness." [quoted in Newman 1991, p. 290] In its uncompromising character his art prefigured the New Objectivity that flourished in Germany during the 1920s, and has a further parallel in the work of Edward Hopper. [Newman 1991, p. 40]

He continued to publish occasional art criticism, in addition to other writings. He wrote eight plays, some of which received performances (in 1904 and 1907), although their reviews appear to have been unfavorable. [Ducrey 1989, p. 30] He also wrote three novels, including the semi-autobiographical "La Vie meurtrière" (The Murderous Life), begun in 1907 and published posthumously. [Newman 1991, p. 318]

Vallotton responded in 1914 to the coming of the First World War by volunteering for the French army, but he was rejected because of his age. [Newman 1991, p. 193] In 1915–16 he returned to the medium of woodcut for the first time since 1901 to express his feelings for his adopted country in the series, "This is War", [Newman 1991, pp. 195, 266] his last prints. [St. James 1978, p. 26] He subsequently spent three weeks on a tour of the Champagne front in 1917, on a commission from the Ministry of Fine Arts. The sketches he produced became the basis for a group of paintings, "The Church of Souain in Silhouette" among them, in which he recorded with cool detachment the ruined landscape. [Newman 1991, p. 200] In his last years Félix Vallotton concentrated especially on still lifes and on "composite landscapes", landscapes composed in the studio from memory and imagination. Always a prolific artist, by the end of his life he had completed over 1700 paintings and about 200 prints, in addition to hundreds of drawings and several sculptures. [Ducrey & Vallotton 2007, pp. 7–8] He died on the day after his 60th birthday, following cancer surgery in Paris in 1925.

His brother Paul was an art dealer; he founded the Galerie Paul Vallotton in Lausanne in 1922, which continued operation for many years under the control of his descendants.

Paintings

Woodcuts

Resources

Notes

References

* Ducrey, Marina (1989). "Félix Vallotton: His Life, His Technique, His Paintings". Lausanne: Edita SA. ISBN 2-88001-248-1
*Ducrey, Marina, & Vallotton, Felix (2007). "Vallotton". Milan: 5 continents. ISBN 978-88-7439-420-3
* Frèches-Thory, Claire, & Perucchi-Petry, Ursula, ed.: "Die Nabis: Propheten der Moderne", Kunsthaus Zürich & Grand Palais, Paris & Prestel, Munich 1993 ISBN 3791319698 (German), (French)
* Newman, Sasha M., essays by Ducrey, Marina... [et al.] (1991). "Félix Vallotton". New York: Abbeville Press. ISBN 1-55859-312-8
*St. James, Ashley (1978). "Vallotton: Graphics". London: Ash & Grant Ltd. ISBN 0-904069-19-2

External links

* [http://www.museumsyndicate.com/artist.php?artist=487 Vallotton Gallery at MuseumSyndicate]
* [http://lepapierbleu.blogspot.com/2008/02/la-manifestation-felix-vallotton-1893.html Vallotton engraver : analyse of "La Manifestation", wood cut, 1893.] (French)
* [http://www.zeno.org/Kunstwerke/A/Vallotton,+F%C3%A9lix Works by Félix Vallotton at Zeno.org] (German)