Félix Vallotton, 'Le Feu sous la glace'

Art , Painting
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 ('La Loge de Théâtre, le monsieur et la dame', 1909, détail © Collection particulière)
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'La Loge de Théâtre, le monsieur et la dame', 1909, détail © Collection particulière
 ('La Loge de Théâtre, le monsieur et la dame', 1909 © Collection particulière)
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'La Loge de Théâtre, le monsieur et la dame', 1909 © Collection particulière
 ('La Chambre rouge', 1898 © Musée cantonal des Beaux-Arts de Lausanne / Photo J.-C. Ducret)
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'La Chambre rouge', 1898 © Musée cantonal des Beaux-Arts de Lausanne / Photo J.-C. Ducret
 ('Le Bain', 1894 © BnF, Dist. Rmn-Grand Palais / image BnF)
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'Le Bain', 1894 © BnF, Dist. Rmn-Grand Palais / image BnF
 ('La Blanche et la Noire', 1913 © Fondation Hahnloser/Jaeggli, Winterthour)
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'La Blanche et la Noire', 1913 © Fondation Hahnloser/Jaeggli, Winterthour
 ('L'Automne', 1908 © Fondation Félix Vallotton, Lausanne)
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'L'Automne', 1908 © Fondation Félix Vallotton, Lausanne
 ('L'Homme poignardé', 1916 © Schweizerisches Institut für Kunstwissenschaft, Zürich / photo Jean-Pierre Kuhn)
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'L'Homme poignardé', 1916 © Schweizerisches Institut für Kunstwissenschaft, Zürich / photo Jean-Pierre Kuhn

Distinguished by their sharp-edged forms and contrasting tones, often using acidic colours, angular frames inspired by photography and flat perspectives, the paintings of Félix Vallotton (1865-1925) fully embraced modernity. If the Swiss artist kept his distance from the Les Nabis movement – in comparison with Vuillard, Bonnard or Sérusier – he maintained a unique gaze throughout his long career, influenced as much by Japanese prints as by a visual culture that, at the turn of the century, changed completely in the light of technical progress. Nudes, landscapes, portraits and still lifes are all featured at this the ambitious retrospective at the Grand Palais, highlighting the singularity which runs through Vallotton’s whole body of work.

Opening hours: Mon, Thu-Sun 10am-8pm; Wed 10am-10pm (school holiday opening hours here).

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