Vallotton’s prints mostly depict daily life in Paris.
He held up a mirror to his contemporaries and confronted them — lightened by a dash of humour — with issues such as oppression, mass consumption and the hypocrisy of marriage.
Vallotton made over 120 woodcuts between 1891 and 1901.
He felt that with his impressive series Intimités — ten prints illustrating the age-old power struggle between men and women — he had achieved the perfect woodcut in terms of subject matter, style, and technique.
It was now time for the new challenge of painting. Vallotton returned to the woodcut one last time in 1915 with the series C’est la Guerre.
Maxime Vallotton, Charles Goerg, Felix Vallotton. Catalogue raisonné de l'oeuvre gravé et lithographie, Geneva 1972
Sasha M. Newman et al., Felix Vallotton, New York 1991
Marina Ducrey, Fleur Roos Rosa de Carvalho, Nienke Bakker et al., Félix Vallotton. Het vuur onder het ijs, Amsterdam 2014