{"id":27076,"date":"2024-06-26T16:30:59","date_gmt":"2024-06-26T15:30:59","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=27076"},"modified":"2025-06-05T00:18:28","modified_gmt":"2025-06-04T23:18:28","slug":"felix-vallotton-woodcuts","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2024\/06\/26\/felix-vallotton-woodcuts\/","title":{"rendered":"F\u00e9lix Vallotton woodcuts"},"content":{"rendered":"

\"vallotton09.jpg\"<\/p>\n

La Paresse (1896).<\/em><\/p>\n

F\u00e9lix Vallotton (1865\u20131925) was a Swiss\/French artist often classed among the Symbolists although few of his paintings really suit the label. The closest he comes to Symbolism is in his membership of the Nabis<\/a>, a small group of artists whose approach to painting was as much concerned with the surface of the picture as with the image that surface represented, something they pursued throughout the 1890s with a revolutionary fervour. Japanese prints were popular among the Nabis, an influence which is evident in Vallotton’s woodcuts although you don’t always seen many of these in Symbolist studies. Vallotton’s paintings are of such a high standard that most of my books favour his canvases over his prints, with the latter appearing, if at all, in the form of the small portraits he made of notable writers. The examples here are from a substantial collection at Wikimedia Commons<\/a> which include many I haven’t seen before, including the complete set of Intimit\u00e9s<\/em> (Intimacies<\/em>), a series showing encounters between men and women in darkened rooms.<\/p>\n

\"vallotton07.jpg\"<\/p>\n

Le Poker (1896).<\/em><\/p>\n

\"vallotton12.jpg\"<\/p>\n

Le Piston (1896).<\/em><\/p>\n

\"vallotton13.jpg\"<\/p>\n

Le Piano (1896).<\/em><\/p>\n

\"vallotton15.jpg\"<\/p>\n

La Fl\u00fbte (1896).<\/em><\/p>\n

<\/p>\n

\"vallotton10.jpg\"<\/p>\n

La Guitare (1897).<\/em><\/p>\n

\"vallotton14.jpg\"<\/p>\n

La Symphonie (1897).<\/em><\/p>\n

\"vallotton05.jpg\"<\/p>\n

Intimit\u00e9s III (1898).<\/em><\/p>\n

\"vallotton04.jpg\"<\/p>\n

Intimit\u00e9s IV (1898).<\/em><\/p>\n

\"vallotton03.jpg\"<\/p>\n

Intimit\u00e9s V (1898).<\/em><\/p>\n

\"vallotton02.jpg\"<\/p>\n

Intimit\u00e9s VII (1898).<\/em><\/p>\n

\"vallotton01.jpg\"<\/p>\n

Intimit\u00e9s VIII (1898).<\/em><\/p>\n

\"vallotton08.jpg\"<\/p>\n

L’\u00c2ge du Papier (1898).<\/em><\/p>\n

\"vallotton06.jpg\"<\/p>\n

Fireworks, The World’s Fair VI (1901).<\/em><\/p>\n

\"vallotton11.jpg\"<\/p>\n

L’Assassinat (1893).<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 The art of Henri van der Stok, 1870\u20131946<\/a>
\n\u2022 The art of Simon Moulijn, 1866\u20131948<\/a>
\n\u2022 The art of Frantisek Kobliha, 1877\u20131962<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

La Paresse (1896). F\u00e9lix Vallotton (1865\u20131925) was a Swiss\/French artist often classed among the Symbolists although few of his paintings really suit the label. The closest he comes to Symbolism is in his membership of the Nabis, a small group of artists whose approach to painting was as much concerned with the surface of the … Continue reading “F\u00e9lix Vallotton woodcuts”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,30,45],"tags":[9486],"class_list":["post-27076","post","type-post","status-publish","format-standard","hentry","category-art","category-black-white","category-symbolists","tag-felix-vallotton"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-72I","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/27076","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=27076"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/27076\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=27076"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=27076"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=27076"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}