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. 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. Related Paintings of Felix Vallotton :. | woman rummaging | Still life with Anemones and Orange | The ball | The Pond | woman in the street |
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Ernest Duez Location
French painter. He studied under Isidore-Alexandre-Augustin Pils and made his debut at the Salon in 1868. One of his earliest paintings, The Honeymoon (1873), caused a scandal at the Salon owing to its depiction of two lovers in modern dress walking through a sunlit forest. His triptych St Cuthbert (1879; Paris, Pompidou) was hailed as a masterpiece of modern art and bought by the State for the Musee du Luxembourg in Paris. The painting depicts the stages of St Cuthbert life, from child to hermit. Contemporary viewers were struck by the artist use of a real landscape setting, based on Villerville in Normandy where Duez spent much of his time. In addition to genre, religious and history paintings, in 1876 he began to produce portraits: Alphonse de Neuville (1880; Versailles, Cheteau) is a typical example. His brooding, suggestive portrait of Mme Duez (1877; see Montrosier, 1896, p. 429) shows the influence of Symbolism. However, he soon returned to painting works that were essentially landscapes, such as the decorative panel Virgil Seeking Inspiration in the Woods (1888) for the Sorbonne and a pair of allegorical figures, Botany and Physics (1892), for the Hetel de Ville in Paris. He also devoted time to applied art, producing a variety of textile designs. His work was praised for its adept use of colour and for bringing what were seen as modern techniques to traditional subjects.