1900 -1925 · Normandy, Provence and reconstructed nature

Vallotton paints the landscape from memory: fields, houses, trees and hills are simplified into zones of intense color, more faithful to the emotion than to the site.

The landscape took an increasing place in Félix Vallotton's painting after 1900. His marriage to Gabrielle Rodrigues-Henriques brought him financial stability and regular stays in Normandy, particularly around Honfleur. He also traveled to Brittany, the Jura, Creuse, Provence and Italy. Vallotton sometimes drew or photographed the motif, but increasingly created his paintings in the workshop. He speaks of "compound landscapes" and dreams of a painting freed from literal respect for nature. He speaks of "compound landscapes" and dreams of a painting freed from literal respect for nature. He speaks of "compound landscapes" and dreams of a painting freed from literal respect for nature. This distance allows him to move a house, simplify a hill, intensify a field or bring together several memories. Landscape of the Creuse organizes rocks, water and terrain in firm masses. In Saint-Jeannet and Cagnes, the light of the South increases contrasts and saturated colors. A field of green oats transforms agricultural culture into a vast undulating surface, while the Red-roofed House uses architecture as an accent in the middle of the territory. The war landscapes of 1917 push the synthesis towards a quasi-abstraction made of ruins, fires and beams. In the calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In calmer works, strangeness comes from silence, still sky and too sharp shapes. In the primary emotion of the place survives in a refined form. The "Landscapes of Félix Vallotton" selection notably compares Paysage de la Creuse and Paysage à Saint-Jeannet, Provence. Its reading favors light.

Vallotton's composite landscape does not betray nature: it removes accidental detail to preserve what the place has left in memory.