![]() Vallotton places him literally on the dark side, merging his figure with the shadows. ![]() ![]() The lady in evening dress in Money seems unmoved by the disputation of her male companion, his intentions abstruse. Betrayal and blame are broadly assigned: in the Munch-like scene of The Triumph, a pitiless woman disdains her distraught husband in Extreme Measure, it’s the sobbing wife who’s devastated. Vallotton relied on the most reductive formal means-the simple contrast of black on white-to establish richly ambiguous scenarios, hardly clarified by suggestive titles inscribed at the bottom of each block: The Lie, The Irreparable, or Five O’Clock (that hour when French men typically met their mistresses). His brilliant graphic sense produced Intimacies, a suite of ten prints depicting couples in domestic or hotel interiors, published in 1898. From the Archives: Pierre Bonnard's Art for Art's Sake, in 1948 ![]()
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