Félix Vallotton

Félix Vallotton (1865-1925) was a Swiss-born French painter and printmaker, renowned for his incisive woodcuts, evocative paintings, and a unique approach that bridged Symbolism, Post-Impressionism, and early Modernism. Born in Lausanne, Switzerland, Vallotton moved to Paris in 1882 to study at the Académie Julian, immersing himself in the vibrant artistic milieu of the French capital.

Initially influenced by the old masters, Vallotton’s early works demonstrate a remarkable technical proficiency and a cool, almost photographic realism. However, his artistic trajectory shifted dramatically in the 1890s when he became associated with Les Nabis, an avant-garde group that included Pierre Bonnard and Édouard Vuillard. The Nabis, inspired by Paul Gauguin’s use of flat areas of colour and decorative patterning, encouraged Vallotton to move beyond mere representation and embrace a more stylised, expressive form.

Vallotton’s woodcuts, produced mainly between 1891 and 1898, are perhaps his most influential contribution to modern art. With bold black-and-white contrasts, dramatic compositions, and incisive social commentary, his prints reinvigorated the medium and earned him considerable acclaim. Works such as “La Manifestation” and “L’Assassinat” are celebrated for their psychological intensity, economy of line, and ability to capture fleeting moments with stark clarity. These prints were widely published in journals and cemented Vallotton’s reputation as a leading figure in the graphic arts.

In painting, Vallotton’s style evolved towards a cool, detached realism, often imbued with a mysterious or unsettling atmosphere. His portraits, interiors, and nudes are characterised by flattened perspectives, sharp outlines, and an almost clinical observation of detail. Despite their apparent objectivity, Vallotton’s paintings often possess a subtle irony or ambiguity, inviting viewers to question the scenes depicted.

Throughout his career, Vallotton also explored themes of bourgeois life, intimacy, and the complexities of human relationships. His later works, particularly those from the First World War period, reflect a deepening psychological introspection and a growing preoccupation with mortality and the passage of time.

Vallotton became a naturalised French citizen in 1900 and continued to exhibit widely until his death in Paris in 1925. Today, his work is celebrated for its technical brilliance, psychological depth, and its pivotal role in the transition from nineteenth-century realism to twentieth-century modernism.