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Felix Vallotton (1865-1925)

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Felix Valotton is without a doubt one of those less familiar names in Modern Art, but still he is very important for the development of modern Art as we know it, because when you look at his works more closely you can discover the fundaments of abstraction.

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In 1893, he became a member of Les Nabis, a semi-secret, semi-mystical group of young artists, mostly from the Academie Julian, which included Pierre Bonnard, Ker-Xavier Roussel, Maurice Denis, and Édouard Vuillard, with whom Vallotton was to form a lifelong friendship. While the Nabis shared certain common ideas and goals, their styles were quite different and personal. While he was a member of the Nabis, he kept his distance; his jocular title among the Nabis was “The Foreign Nabi”, [10] Vallotton’s paintings in this period reflected the style of his woodcuts, with flat areas of color, hard edges, and simplification of detail. His subjects included genre scenes, portraits and nudes. Examples of his Nabi style are the deliberately awkward Bathers on a Summer Evening (1892–93), now in the Kunsthaus Zürich, and the symbolist Moonlight(1895), in the Musée d’Orsay.

His paintings began to be noticed by the public and critics; Bathers on a Summer Evening, presented at the Salon des Indépendents, was met with harsh criticism and laughter.  But they also woodcuts also attracted considerable and growing attention and clients, and he became financially secure. Between 1893 and 1897, he received many commissions for illustrations from notable French newspapers and magazines, including La Revue Blanche, and from foreign art publications, including The Chap-Book of Chicago. He also made woodcuts for the covers of theater programs and book illustrations. One of his prominent patrons was Thadée Natanson, the publisher of the Revue Blanche, and his wife Misia, who commissioned many important decorative works from the Nabis. Through the Natansons Vallotton was introduced to the avant-garde elite of Paris, including Stéphane Mallarmé, Marcel Proust, Eric Satie, and Claude Debussy.

During the Nabi period, he also produced a remarkable series of woodcuts. His woodcut subjects included domestic scenes, bathing women, portrait heads, and several images of street crowds and demonstrations—notably, several scenes of police attacking anarchists. He usually depicted types rather than individuals, eschewed the expression of strong emotion, and “fuse[d] a graphic wit with an acerbic if not ironic humor”. Vallotton’s graphic art reached its highest development in Intimités (Intimacies), a series of ten interiors published in 1898 by the Revue Blanche, which deal with tension between men and women. Vallotton’s woodcuts were widely disseminated in periodicals and books in Europe as well as in the United States, and have been suggested as a significant influence on the graphic art of Edvard Munch, Aubrey Beardsley, and Ernst Ludwig Kirchner. In 1898, he produced one of his most important series of woodcuts,

By 1900, the Nabis had drifted apart. One source of the division was the Dreyfus affair, the case of a Jewish army officer falsely accused of aiding the Germans. The Nabis were divided, with Vallotton passionately defending Dreyfus. He produced a series of satirical woodcuts on the affair, including The age of the Newspaper,which were published on the first page of Le Cri de Paris on January 23, 1898, at the height of the affair.

Another major event during this period was his marriage to Gabrielle Rodrigues-Hénriques, a upper middle class member of the Paris artistic and social elite. The union also brought to his household three children from her previous marriage. After a brief honeymoon in Switzerland, they moved to a large apartment on near the Gare Saint-Lazare train station. He also established a solid relationship with the Bernheim family and their gallery, which presented a special exhibition devoted the Nabis, including ten of his works. The marriage brought him financial security, and he gradually abandoned woodcuts as his main source of income. Thereafter he devoted his attention almost entirely to painting. www. ftn-books.com has some titles on vallotton available.

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Pierre Bonnard (1867-1947)

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A wish of mine was for a very long time to add a Bonnard painting to my collection, Knowing at the same time that it is an unrealistic and certainly impossible wish. I have been looking for Bonnard paintings in all major museums. found them and they always impress. They have some realistic elements, a lot of abstraction and truly magnific atmosphere. Bonnard catches the light as no other painter does. A brushstroke and technique which resembles the pointillist technique of painting and with this technique he created a style of his own. the result highly recognizable paintings which always fascinate.

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It took a very long time before finally his works were considered to be the very best from the century. There were two exhibitions in the late Nineties which contributed to this recognition ( Tate and Moma)

Wikipedia describes why his paintings are one of a kind:

Bonnard is known for his intense use of color, especially via areas built with small brush marks and close values. His often complex compositions—typically of sunlit interiors and gardens populated with friends and family members—are both narrative and autobiographical. Bonnard’s fondness for depicting intimate scenes of everyday life, has led to him being called an “Intimist“; his wife Marthe was an ever-present subject over the course of several decades She is seen seated at the kitchen table, with the remnants of a meal; or nude, as in a series of paintings where she reclines in the bathtub. He also painted several self-portraitslandscapes, street scenes, and many still lifes, which usually depicted flowers and fruit.

Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes. “I have all my subjects to hand,” he said, “I go back and look at them. I take notes. Then I go home. And before I start painting I reflect, I dream.”

He worked on numerous canvases simultaneously, which he tacked onto the walls of his small studio. In this way he could more freely determine the shape of a painting; “It would bother me if my canvases were stretched onto a frame. I never know in advance what dimensions I am going to choose

www. ftn-books.com has some nice Bonnard titles available