Today’s Painting
今日畫作
Félix Vallotton is one of my favorite painters ever. I have always been intrigued by his strangeness, wit, weird color, and his odd position outside the mainstream artistic currents of his time.
費利克斯·瓦洛頓是我最喜歡的畫家之一。我一直被他吸引，被他陌生，機智又怪異的色彩吸引，被他獨立於他那個時代主流藝術潮流之外吸引。
Although Vallotton has always been admired in his native Switzerland (the majority of his works remain in Swiss museums and private collections), he has received scant recognition elsewhere.
雖然瓦洛頓在他的故鄉瑞士一直受人欽佩（他的大部分作品仍保存在瑞士博物館和私人收藏家中），但他在其他地方卻很少獲得認可。
He was a master of narrative suspense, his series of interior scenes from 1897–1899 offers a voyeuristic lens onto private worlds of forbidden love and heartbreak—ambiguous scenarios that find echoes in the work of Edward Hopper.
他在敘事懸念上是大師，他在1897年至1899年的一系列室內場景中創造了一個偷窺的視角，去探尋私人世界裡的禁忌之愛與難過心碎，這些模糊的場景與愛德華·霍珀的作品有所共鳴。
That cinematic quality, which was undoubtedly influenced by Vallotton’s interest in theater, could even have found its way into the films of Alfred Hitchcock, while his unique color palette is comparable to the film sets of Wes Anderson.
這種電影的高質畫面，無疑受到了瓦洛頓對戲劇作品的興趣的影響，甚至可以在阿爾弗雷德·希區柯克的電影中找到，而他獨特的調色板可以與韋斯·安德森的電影背景相媲美。
Artist Introduction
畫家簡介
Félix Edouard Vallotton was a Swiss/French painter and printmaker associated with Les Nabis. He was an important figure in the development of the modern woodcut.
費利克斯·愛德華·瓦洛頓是與那比派相關的瑞士/法國畫家和版畫家。他在現代木刻畫發展中起到重要作用。
He was born into a conservative middle-class family in Lausanne, and there he attended Collège 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 Académie Julian. He spent many hours in the Louvre, where he greatly admired the works of Holbein, Dürer and Ingres; these artists would remain exemplars for Vallotton throughout his life. Vallotton's earliest paintings, chiefly portraits, are firmly rooted in the academic tradition. In 1885 he painted the Ingresque Portrait of Monsieur Ursenbachas well as his first painted self-portrait (seen at left), which received an honorable mention at the Salon des artistes français in 1886.
他出生於洛桑一個保守的中產階級家庭，他就讀於當地的州學院，於1882畢業，並獲得了古典研究學位。同年，他移居巴黎，在朱利安學院的儒勒·約瑟夫·勒費弗和古斯塔夫·布朗厄爾的指導下學習藝術。他在盧浮宮度過了很多時光，在那裡他非常欣賞霍爾拜因，丟勒和英格里斯的作品。這些藝術家成為瓦洛頓一生的榜樣。瓦爾洛頓最早的繪畫作品，主要是肖像畫，深深地植根於學術傳統。1885年，他創作了《烏爾森巴赫先生的安格爾風格肖像》，以及他的第一幅自畫像（見左側），這幅畫在1886年獲得了法國美術沙龍的榮譽獎。
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 recognized as innovative, and established Vallotton as a leader in the revival of true woodcut as an artistic medium.
在隨後的十年中，瓦洛頓繼續繪畫，寫藝術批評並創作了許多版畫。1891年，他完成了自己第一幅木刻畫《保羅·韋蘭的肖像》。他在1890年代創作了許多木刻作品，這些作品被認為富有創新性，並確立了瓦洛頓在木刻復興為藝術媒介的領導者地位。
In the western world, the relief print, in the form of commercial wood engraving, had long been utilized mainly as a means to accurately reproduce drawn or painted images and, latterly, photographs. Vallotton's woodcut style was novel in its starkly reductive opposition of large masses of undifferentiated black and areas of unmodulated white. Vallotton emphasized outline and flat patterns, and generally eliminated the gradations and modeling traditionally produced by hatching. He was influenced by post-Impressionism, Symbolism, and especially by the Japanese woodcut: 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.
在西方世界，以商業木版畫形式出現的浮雕版畫，長期以來一直主要用來精確再現素描或繪畫以及之後照片。瓦洛頓的木刻風格非常新穎，它完全簡化，與沒區分的大團黑色和未調製的白色區域形成鮮明對比。瓦洛頓強調輪廓和平面圖案，一般而言消除了傳統繪畫方式所產生的漸變和造型。他受到後印象派，象徵主義尤其是日本木刻的影響：1890年在巴黎高等美術學院舉辦了大型浮世繪版畫展覽，如那個時代許多的藝術家一樣，瓦洛頓也痴迷日本風潮，並收集了這些印刷品。
His woodcut subjects included domestic scenes, bathing women, portrait heads, and several images of street crowds and demonstrations—notably, several scenes of police attacking anarchists. He usually depicted types rather than individuals, eschewed the expression of strong emotion, and "fuse[d] a graphic wit with an acerbic if not ironic humor". Vallotton's graphic art reached its highest development in Intimités (Intimacies), a series of ten interiors published in 1898 by the Revue Blanche, which deal with tension between men and women. Vallotton's woodcuts were widely disseminated in periodicals and books in Europe as well as in the United States, and have been suggested as a significant influence on the graphic art of Edvard Munch, Aubrey Beardsley, and Ernst Ludwig Kirchner.
他的木刻主題包括家庭場景，沐浴的婦女，頭像，以及幾張街頭人群和示威遊行的圖像，尤其是幾個關於警察襲擊無政府主義者的場景。他通常描繪類型而不是個人，避免表達強烈的情感，並且“將圖形化的風趣與尖刻或者諷刺的幽默融為一體”。瓦洛頓的版畫藝術在《親密關係》中達到了最高發展，這是瑞尤·布蘭奇在1898年推出的一系列十種內飾，旨在處理男女之間的緊張關係。瓦洛頓的木版畫在歐洲和美國的期刊和書籍中得到了廣泛傳播，並被認為對愛德華·蒙克，奧布里·比茲利和恩斯特·路德維希·基希納的版畫藝術具有重大影響。
By 1892 he was affiliated with Les Nabis, a group of young artists that included Pierre Bonnard, Ker-Xavier Roussel, Maurice Denis, and Édouard 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. His subjects included genre scenes, portraits and nudes. Examples of his Nabi style are the deliberately awkward Bathers on a Summer Evening (1892–93), now in the Kunsthaus Zürich, and the symbolist Moonlight (1895), in the Musée d'Orsay.
1892年，他加入那比派，這群青年藝術家包括皮埃爾·邦納德，克爾·澤維爾·羅素，莫里斯·丹尼斯和愛德華·威拉德，瓦洛頓與他們建立了終身的友誼。在1890年代，瓦洛頓與先鋒派緊密結盟，他的畫作反映了他的木刻風格，平坦的色彩區域，堅硬的邊緣和簡化的細節。他的主題包括流派場景，肖像和裸體。他反映那比派風格的作品有刻意笨拙的《夏夜裡的泳客》（1892-93），現存於蘇黎世美術館，以及象徵主義風格的《月光》（1895），現存於奧賽博物館。
In 1899 Vallotton married Gabrielle Rodrigues-Henriques, a wealthy young widow with three children, and in 1900 he attained French citizenship. Around 1899, his printmaking activity diminished as he concentrated on painting, developing a sober, often bitter realism independently of the artistic mainstream. His Portrait of Gertrude Stein (1907) was painted as an apparent response to Picasso's portrait of the previous year, and in The Autobiography of Alice B. Toklas Stein described the very methodical way in which Vallotton painted it, working from top to bottom as if lowering a curtain across the canvas.
1899年，瓦洛頓與加布裡埃爾·羅德里格斯·亨裡克斯結婚，她是一個富有又年輕的寡婦，有三個孩子。他於1900年獲得法國國籍。1899年左右，他的版畫活動逐漸減少，因為他專注於繪畫，發展出一種清醒又時常苦澀的寫實主義，獨立於藝術主流之外。他的《格特魯德·斯坦因的肖像》（1907年）明顯是在回應畢加索前一年創作的肖像，在《愛麗絲B自傳》中，托克拉斯·斯坦因描述了瓦洛頓極有條理的繪畫方式，從上到下地繪畫，就像在畫布上拉低了窗簾。
Vallotton's paintings of the post-Nabi period found admirers, and were generally respected for their truthfulness and their technical qualities, but the severity of his style was frequently criticized.Typical is the reaction of the critic who, writing in the March 23, 1910 issue of Neue Zürcher Zeitung, complained that Vallotton "paints like a policeman, like someone whose job it is to catch forms and colors. Everything creaks with an intolerable dryness ... the colors lack all joyfulness."[9] In its uncompromising character his art prefigured the New Objectivity that flourished in Germany during the 1920s, and has a further parallel in the work of Edward Hopper.
瓦洛頓在後那比派時期創作的畫作廣受仰慕，並因其真實性和優秀技巧而受到人們的尊敬，但他苛刻的風格經常遭到批評。其中一位評論家的反應很典型，他在1910年3月23日發行的那期《新祖爾日報》上抱怨瓦洛頓“像警察一樣畫畫，好像他的工作就是要抓住形式和顏色。一切都叫囂著令人難以忍受的乾燥感...色彩缺乏歡愉”。他在藝術上毫不妥協，預示了1920年代在德國盛行的“新客觀性”，他的作品現在仍與愛德華·霍珀的作品相提並論。
He continued to publish occasional art criticism, in addition to other writings. He wrote eight plays, some of which received performances (in 1904 and 1907), although their reviews appear to have been unfavorable. He also wrote three novels, including the semi-autobiographical La Vie meurtrière (The Murderous Life), begun in 1907 and published posthumously.
除其他著作外，他還繼續發表不定期的藝術評論。他撰寫了八部戲劇，其中一些曾獲表演（在1904年和1907年），儘管他們的評論似乎並不理想。他還寫了三本小說，其中包括半自傳的《兇殘的生活》，始於1907年，在他死後出版。
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