In the final decade of the 19th century, Félix Vallotton became renowned for his woodcut prints. Using traditional Japanese techniques from the 16th Century, Vallotton carved intricate scenes of Parisian society, brought to life by his meticulous use of pattern.
Learn more about Vallotton’s remarkable if not short lived period of printmaking, and the atmospheric, cinematic paintings that he created in the next chapter of his visionary career.
Born in Switzerland in 1865, Félix Vallotton moved to Paris at the age of 16 as an aspiring artist, throwing himself into the artistic circles of the vibrant city. Though, it wasn’t until twenty years later in the 1890s that Vallotton finally rose to fame, with his modern take on the historic Japanese woodcut.
While contemporaries such as Toulouse-Lautrec were exploring the possibilities of lithography, he found much inspiration in the Japanese Ukiyo-e prints of the 16th century.
Translating to 'pictures of the floating world', which referred to the licensed brothel and theatre districts of Japan’s major cities during the Edo period, Ukiyo-e prints depicted such scenes, where the newly wealthy merchant class would frequent.
The Ukiyo-e tradition involved precise carving into cherrywood that required a trained hand and meticulous eye. For his prints, Vallotton used pearwood, and always used the simple combination of black ink on white paper, which worked well for his expertly intricate illustrations, exquisitely laying bare his subject matter. Not only the woodblock technique but also the themes of these historic works would appear to be a source of inspiration for Vallotton’s revealing scenes of Parisian society at the Fin de Siècle.
Quickly becoming a master of the woodcut, the illustrative pieces he created at this time worked as a satirical exposé of the Parisian Bourgeoisie, depicting affairs in prints such as Le Mensonge (The Lie), focusing on themes hedonism, dishonesty, and infidelity. He soon caught the attention of publishing houses, including the liberal publication La Revue Blanche, where he built his renowned career.
Based in realism at the height of Post-Impressionism, Vallotton’s works were revered for their revealing glimpses of everyday private lives. Another wonderful example of his work, La Paresse (Laziness), is a radically simplified depiction of a nude woman lounging on a highly decorative, bohemian bed, with a characterful white cat pawing at her hand.
This intense window of witty and revealing work was preciously short-lived. In 1898, he married a wealthy widow named Gabrielle Rodrigues-Henriques, who was the sister of the owners of the famous Bernheim-Jeune Gallery. At this time he all but abandoned the style and subject that had brought him success, no longer needing the income from his commissioned illustrations. He now belonged to the social class he had previously derided, and was afforded the freedom to dedicate his time to painting.
Being the visionary that he was, he left one artistic aptitude behind, to accomplish more originality in the next. Domestic scenes remained the subject of many of his paintings, still able to capture a moment of intensity or suspense in the figures within it. He developed a hard-edge painting style, along with a wonderful colour palette that feels relevant today. Soft and atmospheric, his masterful way of portraying everyday scenes remains timeless, dreamlike, and cinematic in feel.
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