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 :. | Reclining Nude on a Red Carpet | Solitaire | Interior with red armchair and figure | The Ball | Still life with Tonkinese Warrior |
Related Artists:
Master of the Legend of St. Lucy
(fl. 1480-1510) was an unidentified Early Netherlandish painter who worked in Bruges, now a city in Belgium. His name comes from for an altarpiece in the church of Saint James in Bruges, which is dated 1480 and depicts three scenes from the life of Saint Lucy. Since then, twenty-five to thirty-five paintings have been attributed to the same hand. He may have trained Spanish students at his studio in Bruges. Many of them are characterized by views of the city of Bruges in the background, and can be dated according to the level of construction of its belfry. He may have trained with Dieric Bouts, and was certainly influenced by Bruges' greatest artist at the time, Hans Memling.
EERTVELT, Andries van
Flemish painter (b. 1590, Antwerpen, d. 1652, ?) Flemish painter. He enrolled as a member of Antwerp's Guild of St Luke in 1609. In 1615 he married Catherine Vlieger (d 1627), after whose death he went to Genoa, where he worked for Cornelis de Wael. By c. 1630 he was back in Antwerp, where he had his portrait painted by Anthony van Dyck (1632; Augsburg, Schaezlerpal.). In 1633 Eertvelt married Elisabeth Boots, probably a daughter of the Antwerp painter Jan Boots (b before 1620). Eertvelt is regarded as the first Flemish marine painter. Over the years his palette and style changed. His first paintings, mostly of ships in storms (e.g. Sea Battle in a Storm; Schwerin, Staatl. Mus.), were painted in greenish-black and brown tones, often using white to highlight the rigging against the dark sea. After his tour of Italy he favoured views of southern harbours, with calm seas painted in soft tones (e.g. Spanish Ships Leaving a Port; Vienna, Ksthist. Mus.). In his day Eertvelt was a man of distinction whose artistic qualities were praised by the poet Cornelis de Bie and whose marine paintings were appreciated abroad, some being exported as far as Seville and Lisbon.
John Seymour Lucas
(21 December 1849 - 8 May 1923) was a Victorian English historical and portrait painter as well as an accomplished theatrical costume designer. He was born into an artistic London family, and originally trained as a woodcarver, but turned his attention to portrait painting and entered first the St. Martin's Lane Art School and later the Royal Academy Schools. Here he met his French wife, fellow artist Marie Cornelissen, whom he married in 1877. Lucase artistic education included extensive travels around Europe, particularly Holland and Spain, where he studied the Flemish and Spanish Masters. He first started exhibiting in 1872, was elected an associate member of the Royal Academy in 1876 and a full Royal Academician in 1898. John Seymour Lucas was first and foremost a historical genre painter with a particular talent for realism in the depiction of costumes and interiors. Inspired by van Dyck and particularly Diego Velezquez, he excelled in depicting scenes from the English 16th to 18th century Tudor and Stuart periods, including in particular the Spanish Armada, Preparing for the Voyage, the English Civil War and the Jacobite rebellions. His first major work to achieve widespread public acclaim was Rebel Hunting after Culloden, executed in 1884. It was praised not only for the obvious tension between the muscular blacksmiths and the redcoated forces of law and order (or repression) but for the extraordinary realism in the depiction of the rough smithy and glowing horsehoe on the anvil. In 1885 his next major work whas "Preparing for the Voyage". As his reputation grew, Lucas increasingly mixed in society circles, and became firm friends with the famous society portrait painter John Singer Sargent who was his almost exact contemporary. A portrait of Lucas executed by John Singer Sargent is displayed in Tate Britain. Towards the 1890s John Seymour Lucas executed a number of major works for prestigious public buildings or royal clients. These include: The Flight of the Five Members (Houses of Parliament), The Granting of the Charter of the City of London (Royal Exchange), Reception by HM King Edward VII of the Moorish Ambassador (Royal Collection), HRH the Prince of Wales in German Uniform (Royal Collection) Apart from executing over 100 major oil paintings and a host of drawings, Lucas was renowned as a set and costume designer for the historical dramas popular on the late Victorian and early Edwardian stages. One of his more unusual commissions was the "Duke of Normandy" costume for the ill-fated prince Alfred of Saxe Coburg-Gotha for the Devonshire House Ball in 1897. Lucas was also a prolific watercolour painter and was elected a member of the Institute of Painters in Water Colours in 1877. During most of his artistic career, John Seymour Lucas lived in a purpose-built studio in South Hampstead, London, designed for him by his friend and fellow artist, architect Sydney Williams-Lee. He retired from painting towards the end of World War I, and moved to Blythburgh, Suffolk, where re-designed a house next to the church known as 'The Priory'. Lucas died in 1923 and is interred in Blythburgh church yard. His son, Sydney Seymour Lucas, was also an artist, and illustrator.