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 :. | Red Peppers | High Alps,Glacier and Snowy Peaks | Interior with Woman in red | Gabrielle Vallotton | clair de lune |
Related Artists:
Marchetti
Italian 1853-1909
Grigoriy Ugryumov
painted Alexander Nevsky in Pskov, after they victory over the Germans in 1793.
Charles Cottet
Charles Cottet (1863-1925), French painter, was born at Le Puy-en-Velay and died in Paris. A famed post-impressionist, Cottet is known for his dark, evocative painting of rural Brittany and seascapes. He led a school of painters known as the Bande noire or Nubians group (for the somber palette they used, in contrast to the brighter post-impressionist paintings), and was friends with such artists as Auguste Rodin. Cottet studied at the École des Beaux-Arts, and under Puvis de Chavannes and Roll, while also attending the Academie Julian (where fellow students formed Les Nabis school of painting, with which he was later associated). He travelled and painted in Egypt, Italy, and on Lake Geneva, but he made his name with his sombre and gloomy, firmly designed, severe and impressive scenes of life on the Brittany coast. Cottet exhibited at the Salon of 1889, but on a trip to Brittany in 1886 he had found his true calling. For the next twenty years he painted scenes of rural and harbor life, portraying a culture Parisians still found exotic. He is especially noted for his dark seascapes of Breton harbors at dawn, and evocative scenes from the lives of Breton fishermen. He was close friends with Charles Maurin, and his group included the painter Felix-Émile-Jean Vallotton. Cottet has often been associated with the picturesque seaside symbolism of the Pont-Aven School, though Vallotton famously painted Cottet as a leader of Les Nabis, beside Pierre Bonnard, Edouard Vuillard, and Ker-Xavier Roussel, in his Five Painters (1902-3; Kunstmuseum Winterthur). Cottet was more explicitly the leader of his own small movement, the Bande noire of the 1890s, which included Lucien Simon and Andre Dauchez, all influenced by the realism and dark colours of Courbet.