The cry of Paris.
Marguerite Waknine| N° d'inventaire | 23722 |
| Format | 15 x 21 |
| Détails | 60 p., notebook. |
| Publication | Angoulême, 2015 |
| Etat | Nine |
| ISBN | 9782916694931 |
Is there still any need to describe the extraordinary palette of Félix Vallotton (1865-1925)? Painter, decorator, draftsman, engraver, (and even writer, if you think about it), fiercely independent, master of an unclassifiable body of work. It was first the art of engraving, from 1891, that brought him notoriety. Quickly, contributions accumulated to illustrate books and magazines. In the wake of La Revue blanche, Alexandre Natanson created a political and satirical weekly:
The Cry of Paris, whose covers are regularly illustrated by Félix Vallotton.
Many of them are gathered here, where we find the mastery of the engraver,
in these subtle compositions of blacks and whites, of voids and solids, which
allow us to discover scenes from life from which overflows the gentle and mocking irony that the eye of Félix Vallotton knew how to place on the world. A master of engraving, about whom the art historian J. Meier-Graefe is undoubtedly right to write:
Vallotton has done so much for wood engraving that he could happily renounce the ambition of being mentioned also as a painter.
Is there still any need to describe the extraordinary palette of Félix Vallotton (1865-1925)? Painter, decorator, draftsman, engraver, (and even writer, if you think about it), fiercely independent, master of an unclassifiable body of work. It was first the art of engraving, from 1891, that brought him notoriety. Quickly, contributions accumulated to illustrate books and magazines. In the wake of La Revue blanche, Alexandre Natanson created a political and satirical weekly:
The Cry of Paris, whose covers are regularly illustrated by Félix Vallotton.
Many of them are gathered here, where we find the mastery of the engraver,
in these subtle compositions of blacks and whites, of voids and solids, which
allow us to discover scenes from life from which overflows the gentle and mocking irony that the eye of Félix Vallotton knew how to place on the world. A master of engraving, about whom the art historian J. Meier-Graefe is undoubtedly right to write:
Vallotton has done so much for wood engraving that he could happily renounce the ambition of being mentioned also as a painter.