Félix Edouard VallottonFrench, 1865–1925Self-portrait, 1897
Can I see it?
Unknown
Where is “Self-portrait, 1897” now? Collection: Musée d'Orsay, Paris. Unknown.
Paris, France
The owner is known; whether it is on view today is not.
- In this state since
- Source
- The museum
Details
- Accession number
- RF 2007 6
In the catalog
Sources
- Wikidata
- Image: Musée d'Orsay — Félix Vallotton · Public domain · Wikimedia Commons
In the life of Félix Edouard Vallotton
The whole life1890–1897
Art critic for the Gazette de Lausanne
To earn a living Vallotton restored paintings for the dealer Henri Haro, and from 1890 he wrote for the Swiss Gazette de Lausanne — some thirty articles on the Paris art world up to 1897.
1893–1897
Woodcuts for La Revue Blanche; the Natansons' patronage
His woodcuts brought Vallotton clients and financial security: he illustrated leading French periodicals, including La Revue Blanche, and foreign ones such as The Chap-Book of Chicago, and cut covers for theatre programmes and book illustrations. Thadée Natanson, publisher of La Revue Blanche, and his wife Misia became his patrons and introduced him to the Paris avant-garde elite — Mallarmé, Proust, Satie and Debussy.
23 January 1898
On Dreyfus's side
At the height of the Dreyfus affair Vallotton passionately defended the falsely accused officer; his series of satirical woodcuts, including “The Age of the Newspaper”, appeared on the front page of Le Cri de Paris. The affair divided the Nabis and was one reason the group had drifted apart by 1900.
1899
Married: Gabrielle Bernheim
1899
After the wedding, a flat by the Gare Saint-Lazare
His wife, Gabrielle Rodrigues-Henriques — a widow and the daughter of the dealer Alexandre Bernheim, founder of the Galerie Bernheim-Jeune — brought three children from her first marriage into the household. After a brief honeymoon in Switzerland the couple moved into a large flat near the Gare Saint-Lazare; the marriage brought Vallotton financial security.
1899
A critic of the bourgeoisie, now inside it
In his youth Vallotton sympathised with the anarchists and drew satire for radical reviews such as L'Assiette au beurre and Le Cri de Paris; marrying into a wealthy family, he found himself in the very class he used to condemn, and his views shifted somewhat, yet he kept up his social criticism.
