FELIX VALOTTON (1865-1925)
Les Dents du Midi (3,114 m to 3,257 m -10,216 ft to10,685 ft)
Switzerland
In Les Dents du Midi, 1919, Oil on canvas, Private collection
In Les Dents du Midi, 1919, Oil on canvas, Private collection
The mountain
The Dents du Midi (Teeth of the south) (3,114 m to 3,257 m -10,216 ft to10,685 ft) are a mountain range, 3 kilometers long, located in the Chablais Alps in the canton of Valais in Switzerland. Overlooking the valley of Illiez and Rhône Valley on south, they face the lake Salanfe, an artificial reservoir, and are part of the geological whole massif Giffre.
The name "Dents du Midi" is recent. The people formerly called them "Dents Tsallen". It was only towards the end of the19e century that the name "Dents du Midi" came officially.
Each « tooth » had several names over the centuries and according to its geological evolution.
- The "Cime de l'Est" (3178 meters) called "Mont Novierre" before the mid-17th century, and "Mont Saint-Michel "after landslides in 1635 and 1636 and finally "Dent Noire" (until the 19th century).
- The "Dent Jaune" (3186 m) was called the "Dent Rouge" until 1879.
- The "Doigt de Champéry" (in 1882) and then the Doigt Salanfe (in 1886) turned just into "Les Doigts" (Fingers) (3205 m and 3210 m).
- The "Haute Cime" (3257 m) also had many names : "Dent de l’Ouest" (until 1784)an then "Dent du Midi", "Dent de Tsallen" and "Dent de Challent."
- As for l’Eperon (3114 m) (The Spur), it is assumed that there were two peaks but a landslide in the Middle Ages significantly changed its crest.
- The Forteresse (3164 m) and the Cathedral (3160 m) have not changed names.
The evolution of this massif continues nowadays. So on the morning of 30 October 2006, a volume of 1 million m3 of rock broke away from the edge of the Haute Cime and slid down the slope to an altitude of about 3000 m. The event did not present danger to the nearby village of Val-d'Illiez but roads and trails were closed for security reasons. According to the cantonal geologist, the landslide was caused by the thawing of rocks, helped by warm summers of recent years.
- More about Les Dents du Midi
The painter
Félix Edouard Vallotton (December 28, 1865 – December 29, 1925) was a Swiss/French painter and printmaker associated (from 1892) 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. 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 Zurich, and the symbolist Moonlight (1895), in the Musée d'Orsay, Paris.
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.
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 Zurcher 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."
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.
Vallotton responded in 1914 to the coming of the First World War by volunteering for the French army, but he was rejected because of his age. In 1915–16 he returned to the medium of woodcut for the first time since 1901 to express his feelings for his adopted country in the series, This is War, his last prints. He subsequently spent three weeks on a tour of the Champagne front in 1917, on a commission from the Ministry of Fine Arts. The sketches he produced became the basis for a group of paintings, The Church of Souain in Silhouette among them, in which he recorded with cool detachment the ruined landscape. In his last years Félix Vallotton concentrated especially on still lifes and on "composite landscapes", landscapes composed in the studio from memory and imagination. Always a prolific artist, by the end of his life he had completed over 1700 paintings and about 200 prints, in addition to hundreds of drawings and several sculptures. He died on the day after his 60th birthday, following cancer surgery in Paris in 1925.
2017 - Wandering Vertexes...
by Francis Rousseau
- More about Les Dents du Midi
The painter
Félix Edouard Vallotton (December 28, 1865 – December 29, 1925) was a Swiss/French painter and printmaker associated (from 1892) 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. 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 Zurich, and the symbolist Moonlight (1895), in the Musée d'Orsay, Paris.
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.
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 Zurcher 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."
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.
Vallotton responded in 1914 to the coming of the First World War by volunteering for the French army, but he was rejected because of his age. In 1915–16 he returned to the medium of woodcut for the first time since 1901 to express his feelings for his adopted country in the series, This is War, his last prints. He subsequently spent three weeks on a tour of the Champagne front in 1917, on a commission from the Ministry of Fine Arts. The sketches he produced became the basis for a group of paintings, The Church of Souain in Silhouette among them, in which he recorded with cool detachment the ruined landscape. In his last years Félix Vallotton concentrated especially on still lifes and on "composite landscapes", landscapes composed in the studio from memory and imagination. Always a prolific artist, by the end of his life he had completed over 1700 paintings and about 200 prints, in addition to hundreds of drawings and several sculptures. He died on the day after his 60th birthday, following cancer surgery in Paris in 1925.
2017 - Wandering Vertexes...
by Francis Rousseau