Description
The painting "a street (also known as Street Corner)" of 1895, made by the Swiss artist Félix Vallotton, stands as one of the most intriguing pieces of his repertoire. In this work, Vallotton, prominent member of the Nabis movement, captures an urban moment with a precision and style that challenges gender expectations. The painting not only reveals the author's technical skill, but also its acute observation of everyday life.
In the center of the scene, an urban intersection captured in what seems to be a noon full of sunlight, exposes the dialectic between movement and stillness. On the left, a red brick building with balconies and windows of green blinds, highlights for its warmth and texture meticulously detailed. This building is accompanied by a small green space at its entrance, enhancing the feeling of everyday life.
In contrast, on the right, we observe a smooth white wall that stands out, contributing to intensify the perspective and depth of the image, in addition to adding an enigma air to the composition. The street of the street, with its tidy cobblestone, takes the viewer beyond the limits of the frame, suggesting a continuity that goes beyond the visible.
As for the colored palette, Vallotton handles a contained spectrum but expressive. The Earth's brick nuances are contrasted with the clarity of the sky and the greenish tones of the balconies, thus balancing the composition and creating a visual dynamism that guides the viewer's gaze throughout the work. The shadow that projects the building on the left breaks with the homogeneity of the cobblestone, adding an element of duality between light and shadow, a constant in the struggle of impressionism to capture the immediacy of the moment.
He painting It does not present human figures, which is a remarkably calculated choice. The absence of characters in a scene that is clearly urban underlines Vallotton's interest in architecture and urban space itself. It is as if the buildings and the street were the true protagonists, leading the viewer to meditate on the urban scenario rather than about human interaction per se.
An almost anecdotal but significant detail is the indication of the blue sky, which provides serenity and a climate context to the representation. Vallotton achieves, through its brush, wrapping whoever observes in a concrete atmosphere, delimited not only by visible elements but for what it suggests outside the field.
Félix Vallotton, also known for his work in xylography and its affinities with post -impressionism and symbolism, finds in "a street" a particular voice. It combines a certain almost photographic precision with a subjective interpretation of the urban environment. This balance between objectivity and subjectivity is what gives the work its permanence in the artistic imaginary.
In a historical context, the work falls into a transition period where European art is questioning academic stiffness and exploring new forms of expression. Vallotton, with his affiliation to the Nabis, did not blindly follow the predominant currents of his time, but sought a more intimate and reflective language through his compositions.
"A street (also known as Street Corner)" should not only be appreciated for its impeccable technical execution, but also as a pictorial meditation on urban life at the end of the 19th century. Vallotton invites the viewer to an aesthetic pause, in which the routine becomes a deep dialogue between space and color, between what is shown and what is intuited, thus enriching our perception of the everyday.
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