Credited in fact with reviving the art of woodcut printing, he drew on the traditions of Ukiyo-e Japanese woodblock prints, by eighteenth century artists such as Katsushika Hokusai and Utagawa Hiroshige, to create biting political narratives whose effect was heightened through his bold contrast of jet black ink on white paper. In creating some of the most visually distinctive, and bitingly satirical, images of turn-of-the-century Parisian life, Vallotton earned the title of greatest printmaker of his generation.Transferring the block technique of his printmaking to his painting, his distinctive vision offered a fine balance between Realist and Symbolist techniques that saw many of his mature works convey a palpable sense of psychological disquiet. As his career evolved, Vallotton turned his dispassionate eye more and more towards painting. Through these new associations he was able to plot a more singular path that saw him make his name via a collection of groundbreaking satirical woodcuts for avant-garde left-wing journals.

Though he never really settled as a member of Nabis, his affiliation with the group brought him into contact with a circle of literary bohemians. His early printmaking caught the eye of Pierre Bonnard and Édouard Vuillard who invited him to join the Nabis group. His status stands on a body of work that encompasses portraits, satirical prints, interior narratives, landscapes and still lifes. Vallotton never quite reached the heights of fame of some of his avant-garde contemporaries, but he developed his own unique style and history now views him as one of the most original artists of his era.

Félix vallotton bois de boulogne