It was Vallotton’s continuing series of interiors, though, which I find most fascinating. Félix Vallotton (1865–1925), Woman Searching in a Closet (1901), oil on canvas, 78 × 40 cm, Private collection. Like some of the unconventional views of bridges painted in the late nineteenth century, its emphasis is on unusual perspective form, but it manages to avoid showing Pissarro’s dense throng of people, or its place among prominent buildings, and is almost unrecognisable. Vallotton’s view of the oldest of the great bridges of central Paris, in Le Pont Neuf from 1901, is strange. Félix Vallotton (1865–1925), Le Pont Neuf (1901), oil on cardboard, 37 x 57 cm, Kunstmuseum Winterthur, Winterthur, Switzerland. He also broadened his interests: in the early years of the new century, he wrote eight plays and three novels, although none achieved much success. He had cut back on his prints to paint more, and the paintings that he made were no longer Nabi, but explored themes and ideas which were to be influential later in the twentieth century. In 1900, the Swiss painter and print-maker Félix Vallotton (1865–1925) was granted French citizenship.
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