In creating some of the most visually distinctive, and bitingly satirical, images of turn-of-the-century Parisian life, Vallotton earned the title of greatest printmaker of his generation.Transferring the block technique of his printmaking to his painting, his distinctive vision offered a fine balance between Realist and Symbolist techniques that saw many of his mature works convey a palpable sense of psychological disquiet. As his career evolved, Vallotton turned his dispassionate eye more and more towards painting. Through these new associations he was able to plot a more singular path that saw him make his name via a collection of groundbreaking satirical woodcuts for avant-garde left-wing journals. Though he never really settled as a member of Nabis, his affiliation with the group brought him into contact with a circle of literary bohemians. His early printmaking caught the eye of Pierre Bonnard and Édouard Vuillard who invited him to join the Nabis group. His status stands on a body of work that encompasses portraits, satirical prints, interior narratives, landscapes and still lifes. Vallotton never quite reached the heights of fame of some of his avant-garde contemporaries, but he developed his own unique style and history now views him as one of the most original artists of his era.
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