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11

Félix Vallotton

La luxure, 1912

Félix Vallotton

Félix Vallotton

La luxure, 1912

La luxure, 1912

Félix Vallotton

1865 - 1925

La luxure, 1912


Oil on canvas

Signed and dated upper right

114 x 146 cm (unframed); 135 x 168 cm (framed)

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The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Druet, Paris, no. 7592 (acquired directly from the artist in 1913)
Galerie Vallotton, Lausanne, no. 7574 (1931)
Jean Flury, Geneva (1932)
Sale: Galerie Motte, Geneva, November 3, 1971, lot 75
Willy Raeber, Basel (possibly acquired at the above sale)
Private collection, Switzerland

Druet, Paris, no. 7592 (acquis directement auprès de l'artiste en 1913)
Galerie Vallotton, Lausanne, no. 7574 (1931)
Jean Flury, Genève (1932)
Vente: Galerie Motte, Genève, 3 novembre 1971, lot 75
Willy Raeber, Bâle (probablement acquis lors de cette vente)
Collection particulière, Suisse
Livre de raison, no. 901
A. Dervaux, "Notes sur l'art. Galerie Druet", in La Plume littéraire, artistique, politique et sociale, Paris, 15 December 1913, no. 425, p. 265
Gustave Kahn, "Art. Exposition du 1er groupe (Galerie Druet)", in Mercure de France, Paris, 16 December 1913, vol. 106,, p. 822
Paul Budry, "Chroniques de Suisse. Félix Vallotton", in Les Chroniques du jour, Paris, May 1930, no. 6, illustrated
Charles Fegdal, Vallotton, Paris, 1931, pl. 25
Hedy Hahnloser-Bühler, Félix Vallotton et ses amis, Paris, 1936, fig. 138
Charles Goerg & Antoinette Wakker, A propos des mythologies et des allégories de Félix Vallotton, Geneva, 1979, p. 9
Marina Ducrey & Katia Poletti, Félix Vallotton (1865-1925). L’œuvre peint, Catalogue Raisonné, vol. III, Milan/Lausanne/Zurich, 2005, p. 546, no. 955, illustrated 

Livre de raison, no. 901
A. Dervaux, "Notes sur l'art. Galerie Druet", in La Plume littéraire, artistique, politique et sociale, Paris, 15 décembre 1913, no. 425, p. 265
Gustave Kahn, "Art. Exposition du 1er groupe (Galerie Druet)", in Mercure de France, Paris, 16 décembre 1913, vol. 106,, p. 822
Paul Budry, "Chroniques de Suisse. Félix Vallotton", in Les Chroniques du jour, Paris, mai 1930, no. 6, reproduit
Charles Fegdal, Vallotton, Paris, 1931, pl. 25
Hedy Hahnloser-Bühler, Félix Vallotton et ses amis, Paris, 1936, fig. 138
Charles Goerg & Antoinette Wakker, A propos des mythologies et des allégories de Félix Vallotton, Genève, 1979, p. 9
Marina Ducrey & Katia Poletti, Félix Vallotton (1865-1925). L’œuvre peint, Catalogue Raisonné, vol. III, Milan/Lausanne/Zurich, 2005, p. 546, no. 955, reproduit
Paris, Galerie Druet, Exposition annuelle 1er groupe, 1913, no. 38
Zurich, Kunsthaus, Félix Vallotton1928, no. 97
La Chaux-de-Fonds, Musée des Beaux-Arts, Exposition Félix Vallotton 1865-1925, 1943-1944, no. 29
Geneva, Athénée, Félix Vallotton 1865-1925, 1944, no. 21
Geneva, Musée d'art et d'histoire, Cabinet des estampes, L'oeuvre gravé de Félix Vallotton (1865-1925), 1952, no. 99
Lausanne, Musée cantonal des Beaux-Arts, Art suisse au XXe siècle / Schweizer Kunst im 20. Jahrhundert / Arte svizzera nel XX secolo, 1964, no. 16
Zurich, Kunsthaus, Félix Vallotton, 1965, no. 183

Paris, Galerie Druet, Exposition annuelle 1er groupe, 1913, no. 38
Zurich, Kunsthaus, Félix Vallotton1928, no. 97
La Chaux-de-Fonds, Musée des Beaux-Arts, Exposition Félix Vallotton 1865-1925, 1943-1944, no. 29
Genève, Athénée, Félix Vallotton 1865-1925, 1944, no. 21
Genève, Musée d'art et d'histoire, Cabinet des estampes, L'oeuvre gravé de Félix Vallotton (1865-1925), 1952, no. 99
Lausanne, Musée cantonal des Beaux-Arts, Art suisse au XXe siècle / Schweizer Kunst im 20. Jahrhundert / Arte svizzera nel XX secolo, 1964, no. 16
Zurich, Kunsthaus, Félix Vallotton, 1965, no. 183

The presence, or absence, of the nude in art representations has traditionally identified historical and stylistic situations. In established theories, the idealised nude is associated with the classical conception of art, in contrast to provocative, anti-classical art characterised by distorted figures. From its beginning, the 20th century included nudity among the fundamental artistic choices for its operation to fracture the past. In the early avant-gardes such as that of the German group of Kirchner's Brücke, or even in the Fauves, albeit with less harshness, the nude had a basic pictorial component and was an existential choice that united its pupils.


Félix Vallotton, from a Swiss bourgeois family who went to Paris in 1882, exemplifies his contribution to the modern predisposition in this artwork dated 1912. The painting lacks depth, but as a fine colourist Vallotton fills the space with vivid, intense and bright colours. The monumental work is one of the artist’s closest compositions to the Nabis style and that of Paul Gauguin’s followers.


Women are omnipresent in Vallotton’s work, whether in stylised nudes in later years or his major mythological scenes. Around 1910 Vallotton’s reputation rested mainly on his nudes. La Luxure, the composition of which is strongly influenced by his master Ingres and his Grade Odalisque, is a unique masterpiece on the market.


The theme of lust and deadly sins is recurrent in the history of Art, from Romanesque Art to Gaugin, as well as Chagall and Dali. However, with Vallotton, the idealized representation of the woman gives way to a description of the contemporary female, as he sees her. The eroticism does not reside in the description of the model with iridescent flesh but in the arabesque of the pose and the richness of the fabrics surrounding the model.


The title of the work was given by Vallotton's first dealer in Paris, Druet, who exhibited the work in 1913, and it was later noted by the artist himself in his Livre de Comptes. The painter thus confirms the allegorical meaning of the work, namely the lust towards a female temptress, with a body offered in an abundance of fabrics.