Edouard Vuillard. (1868 - 1940)
The Printmaker [Félix] Vallotton in His Paris Workshop, 1902
#Vuillard #Vallotton
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Just updated the Erotic & Sensual Art page — three new artists added, each one chosen because they do something genuinely unexpected with desire and the body.
Vallotton. Klimt. Lempicka.
If you know their work, you know why. If you don’t — that’s exactly why the page exists.
#artsky
#vallotton
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Felix Vallotton, "En Promenade," oil on board, c.1895; photo: Christie's. #vallotton #frenchpainter #painter #modernart #art #arte #paintings #peintures #oilpainting #museum #artgallery
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Félix Vallotton (1865-1925)
"High Sea, Villerville", 1902,
Oil on board
#painting #art #oilpainting #drawing #illustration #seascape #marinepainting #FélixVallotton #Vallotton
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Felix Vallotton, Femme nue assise dans un fauteuil, 1897
#felix #vallotton
Origin | Interest | Match
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Interior with woman in a red dress (1903)
Œuvre de l’artiste 🇨🇭 Felix Vallotton
#Art #Vallotton #FelixVallotton #Dream #Red #Emotion
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Félix Vallotton, "Still Life With Apples," oil on canvas, 1910; MuMa, Le Havre. #vallotton #art #modernart #stilllife #painting #oiloncanvas #oilpainting #museum #artgallery
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“Félix #Vallotton. I colori del desiderio”
Bellissimo documentario su @artefr.bsky.social
www.arte.tv/it/videos/11...
Foto: La Loge de théâtre, le monsieur et la dame, 1909
Collection particulière
© DR / DR
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Felix Vallotton, "Vuillard Drawing at Honfleur," oil on cardboard, 1902; Musée des beaux-arts de Montréal. #portrait #vallotton #vuillard #painting #art #museum #modernart #artgallery
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Bonne année 2026 avec Félix Vallotton et son magnifique 14 juillet à Étretat (1899), en ce moment au Musée des Beaux-Arts de Lyon pour l’expo sur les falaises d’Étretat.
#Vallotton
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𝗧𝗵𝗲 “𝗩𝗮𝗹𝗹𝗼𝘁𝘁𝗼𝗻 𝗬𝗲𝗮𝗿” 𝗰𝗼𝗺𝗲𝘀 𝘁𝗼 𝗮𝗻 𝗲𝗻𝗱!
We honour Félix Vallotton (28 December 1865 – 29 December 1925), a quiet revolutionary of modern painting, who died 100 years ago.
#vallotton #felixvallotton #painter #woodcut #printmaker #swissartist #FineArts #art #artherenow #artagenda
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Picture in picture in picture... #Art #Painting #Vallotton
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Poésie vallottonienne
#art #painting #vallotton #felixvallotton #petitpalais #exhibition #paris #parisjetaime #parismaville #etc
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Always good to see my famous compatriot's art getting a spotlight on Bluesky!! #art #swissart #vallotton
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Atardecer bronce-violeta 1911 Ejemplo de sus mágicos paisajes de los años 10. Felix Vallotton (Suíza, 1865–1925) un #postimpresionista ligado a los #Nabis que alrededor de los años 10 comenzó a pintar coloridos y evocadores atardeceres como este, donde el expresionismo y el arte abstracto están a la vuelta de la esquina.
Atardecer bronce-violeta 1911 Felix #Vallotton #Suíza, 1865–1925 #postimpresionista ligado a los #Nabis que alrededor de los años 10 comenzó a #pintar coloridos y evocadores #atardeceres como este, donde el #expresionismo y el #arte #abstracto están a la vuelta de la esquina. #museoparticular
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Painted the year he died, this is among Félix Vallotton’s last and most debated portraits as an interwar realist departure from his Nabi-style flatness toward an almost clinical precision. Born in Lausanne and naturalized French, Vallotton spent his final years reengaging portraiture with unsparing clarity. The woman is identified in several sources as Mado Leviseano, a Romanian sex worker in Paris. Her tilted, close-cropped by the frame posture pushes intimacy into discomfort, which helped the picture cause a minor scandal when shown. Vallotton wrote that bodies “have their own individual expressions… the joy, the pain, the boredom,” a credo legible here in the tension between sumptuous red and guarded gaze. The seated young Leviseano sits against a flat, saturated red backdrop that nearly merges with her strappy red dress. She leans toward us from a dark, carved armchair, shoulders bare, the thin beaded straps glinting. Her short, dark hair is wavy while strong brows and crimson lips focus her face. Light falls across the collarbones and upper arms, modeling skin with porcelain clarity while leaving faint shadows across her neck. The dress’s surface of lace-like motifs and tiny sequins catches highlights across the bodice and gathered skirt. One hand, relaxed over her lap, shows a large bright ring as the other drapes along the chair’s arm. Her mouth is slightly open, eyes slanting towards us with a wary, almost challenging look. The red field, chair, and garment compress space, turning the body’s angles and the metal studs into crisp punctuation in a near-photographic stillness. The painting was donated in 1926 by the artist’s widow, Gabrielle Vallotton, to the Musée du Luxembourg and later to the Musée d’Orsay; since 1977 it has been on display at the Centre Pompidou’s Musée national d’art moderne. The work distills Vallotton’s late style of hard edges, enamel-smooth paint, and a cool, dispassionate eye that frames womanhood not as allegory but as presence.
“La Roumaine en robe rouge (Romanian Woman in a Red Dress)” by Félix Vallotton (Swiss-French) – Oil on canvas / 1925 – Musée d’Orsay (Paris, France) #WomenInArt #FélixVallotton #Vallotton #FelixVallotton #art #artText #artwork #Muséed’Orsay #PortraitofaWoman #OilPainting #Arte #pintura #peinture
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Painted in 1924, near the end of Swiss-French artist Félix Vallotton’s life, this “simili-portrait” belongs to a series in which he sought to “represent human types rather than individuals,” using unnamed sitters to test contrasts of color, texture, and form. Here, a "modern woman" of the 1920s with short hair, cosmetics, and off-the-shoulder loose dress becomes an emblem, not a likeness. She sits close to the picture plane, cropped below the waist, her body turned slightly as if pausing while reading to look directly at us. Her eyes are almond-shaped and heavy-lidded, edged with subtle eyeliner and neat, arched brows as their dark irises glint small highlights. A sea-blue satin dress slips off one shoulder while matching blue drapery gathers at her forearm, setting up a play of reveal and conceal. Her bobbed dark hair frames a made-up face as her skin appears sun-warmed against a flat, warm background that keeps all attention on the figure. Edges are crisp, volumes simplified, and the silk fabric come across as cool planes of color rather than rippling folds. There is no ocean yet the title suggests briny air and a recent shore, an atmosphere echoed by the dress’s blue and the model’s poised, modern self-possession. The scene is quiet, frontal, and deliberately anonymous. The cool detachment of Vallotton’s late style, often summarized as “fire beneath the ice,” is everywhere: sensual shoulder and satin are offset by an implacable stillness and exacting contour. Geneva’s museum lists an earlier title, Femme à la draperie bleue, underscoring how fabric and hue carry the picture’s meaning. Acquired in 1929, the work was featured in the major retrospective "Vallotton. Le feu sous la glace" (Grand Palais, Van Gogh Museum, Mitsubishi Ichigokan), reaffirming how these distilled “types” compress symbol, fashion, and psychology into a single, unforgettable pose.
Le Retour de la mer (Return from the Sea) by Félix Vallotton (Swiss-French) – Oil on canvas / 1924 – Musée d’Art et d’Histoire de Genève (Switzerland) #WomenInArt #LesNabis #Post-Impressionism #BlueskyArt #FélixVallotton #FelixVallotton #Vallotton #art #artText #1920s #Muséed’Artetd’HistoiredeGenève
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This image presents three portraits spanning distinct artistic styles and time periods, each depicting a seated figure with a strong, grounded presence. On the left is Jean-Auguste-Dominique Ingres’ Portrait of Monsieur Bertin (1832), a neoclassical rendering of a stern, white-haired man seated confidently in a wooden chair, his direct gaze and posture radiating authority. In the center is Pablo Picasso’s Portrait of Gertrude Stein (1905–06), painted in his early modernist style with simplified shapes and a mask-like face, portraying the writer seated with hands resting on her lap, exuding thoughtfulness and poise. On the right is Félix Vallotton’s Portrait of Gertrude Stein (1907), showing Stein in a voluminous brown garment and a long beaded necklace, sitting against a plain, angular backdrop; her steady gaze and solid form reflect Vallotton’s characteristic simplicity and psychological depth.
Ingres, Portrait of Monsieur Bertin (1832) + Picasso, Gertrude Stein (1905–06) + Vallotton, Gertrude Stein (1907)
Both portraits of Gertrude Stein have been (somewhat rudely) compared to Ingres’ picture
#SideBySide #Art #ArtHistory #GertrudeStein #Picasso #Vallotton #Ingres
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Félix Vallotton (1865-1925)
"Verdun", 1917,
Oil on canvas
#painting #art #oilpainting #drawing #illustration #WWI #ww1 #FélixVallotton #Vallotton
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