Description
In the painting "On July 14 in Etretat" by Félix Vallotton, made in 1899, you can see a living and colorful representation of the celebration of the French National Day in the picturesque coastal town of Etretat. Known for its affinity with the Nabis movement, Vallotton employs in this work a combination of techniques that highlight their ability to capture both the daily scene and the festive atmosphere.
The composition of the work is a sample of Vallotton's mastery in the use of space and perspective. In the foreground, a considerable number of human figures are distributed, actively participating in what seems to be a procession. Men, women and children, represented with costumes of the time, give testimony of the patriotic fervor of the moment. Vallotton pays special attention to detail and the individuality of the characters, giving each one of a uniqueness that distinguishes them within the set.
The use of color is another prominent aspect in this painting. Vallotton opts for a vibrant palette that stands out through bold contrasts and solid color blocks. The red, white and blue of the French flag are repeated in various parts of the scene, unifying the work and reinforcing the sense of nationalism. The green of the grass and the deep blue of the sea in the background provide a natural frame that balances the vivacity of the celebration.
Etretat's coastal landscape is hinted at the bottom, with the famous rock formation of the cliffs barely visible after the bustle of the crowd. This view becomes a secondary but essential element that places the scene in its geographical context. The simplicity with which natural elements are represented is a characteristic feature of Vallotton's synthetic style, where the essence of the landscape is captured more through lines and colors than meticulous details.
The influence of the Japanese Ukiyo-e, very evident in Vallotton's work, is also perceived on "July 14 in Etretat". The preference for color planes, the absence of detailed shadows and the clarity of the lines that delineate figures and objects are reminiscences of this eastern artistic style that so much fascinated the Europeans of the late nineteenth century.
Despite the vivacity and the apparent documentary righteousness of the painting, Vallotton introduces, as in many of his other works, an element of distancing. The artist's gaze seems not only to capture what he sees, but also observe it with a critical, almost satirical perspective, which invites the viewer to question reality after the apparent holiday.
"July 14 in Etretat" is not only a celebration of the art of painting, but a cunning representation of a complex social interaction at a particular moment in history. Félix Vallotton, through this work, offers a window not only to a specific scene of the past, but also to its own unique and sophisticated perspective as an artist.
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