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.[1] 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 :. | Dinner | Portrait decoratif of Paul Verlaine | Nude sleeping on a bank | The Jardin du Luexmbourg | The Third Gallery at the Theatre du Chatelet |
Related Artists:
Ion Theodorescu Sion
Ion Theodorescu-Sion (1882-1939). Alternative names Onu Soare Teodor. Romanian painter.
NOCRET, Jean
French painter (b. 1617, Nancy, d. 1672, Paris).
Tack Augustus Vincent
A painter of portraits, murals and abstractions. American, 1870-1949 American, 1870-1949, was an American painter of portraits, landscapes and abstractions. He was born in Pittsburgh, Pennsylvania in 1870 and moved with his family to New York in 1883. After graduating from St. Francis Xavier College in New York City in 1890, Tack studied at the Art Students League of New York until 1895. He is believed to have frequented the studio of painter and stained glass designer John La Farge, whose portrait he painted around 1900. He had his first solo exhibition at the Kraushaar Galleries in New York City in 1896. The following year he moved to an artists?? colony in Deerfield, Massachusetts, where he met and later married Agnes Gordon Fuller, daughter of artist George Fuller. Tack maintained a studio in New York from 1894 until the end of his life. He had frequent exhibitions at New York City galleries. From 1900 until the 1920s his work was shown regularly at the Worcester Art Museum, at the Carnegie International exhibitions in Pittsburgh, and at the Pennsylvania Academy of the Fine Arts in Philadelphia. He taught at the Art Students League of New York between 1906 and 1910 and at Yale University from 1910 to 1913. About 1914 to 1915 his work attracted the notice of Duncan Phillips, who became his close friend and chief patron. Phillips and Tack also collaborated on the organization of the Allied War Salon of 1918. Tack died in 1949 in New York City.