Félix Edouard VallottonFrankrijk, 1865–1925Ужин
Mag men het zien?
Onbekend
Kirov, Rusland
De eigenaar is bekend; of het werk nu te zien is, is onbekend.
- Ongewijzigd sinds
- Bron
- Het museum
Over het schilderij
In de woorden van het museum — in het Russisch
В комнате на фоне темной драпировки за круглым столом, покрытым скатертью, сверху освещенным лампой, сидят двое мужчин, справа женщина и в глубине девочка. Hа столе сервировка, зеленое растение и фрукты.
Vyatskiy Art Museum
Gegevens
- Inventarisnummer
- Ж-38
In de catalogus
Bronnen
- De Staatscatalogus van het Russische museumbezit
- Afbeelding: Vyatskiy Art Museum — © Вятский художественный музей имени В. М. и А. М. Васнецовых · Госкаталог музейного фонда РФ
Intussen, in het leven van Félix Edouard Vallotton
Het hele leven23 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.
1900
Becomes a French citizen
The Swiss-born Vallotton was naturalised as a French citizen.
1900s
Exhibitions across Europe and in Russia
In the 1900s Vallotton's exhibitions met with triumph in Vienna, Munich, Zurich, Prague, London and Stockholm; his works were also shown in Moscow, St Petersburg, Kiev, Odessa and Amsterdam.
after 1901
Gives up the woodcut for painting
After 1901 Vallotton made few prints and devoted himself to painting (he had been turning to it increasingly since 1899): after his marriage the woodcut ceased to be his main income, and the Galerie Bernheim-Jeune, with which he formed a solid relationship, mounted a Nabis exhibition including ten of his works.
