Floor plan

Artist galleriesFélix Vallotton's contemporaries

Félix Vallotton's contemporaries

Painting of a stately woman seated on a red velvet chair in a blood-red room, a blue-white fireplace to her left. She glances down at the floor with a serene expression toward a tiny blond child—a baby—who sits on the floor tearing up paper, her pink-clad back facing the viewer.
This painting shows a large jug filled with orange flowers on a woven brown surface, with three small oranges placed in front of it. The bottom half of the jug is a brownish-red color, while the top part and handles are a light tan. The jug is centered, with flowers extending slightly to the sides. The flowers in the vase are surrounded by dark green leaves and buds. The wall behind the vase is a light gray color, and the vase casts a light shadow on it.
The Dream of the Shepherd (Der Traum des Hirten), by Ferdinand Hodler, 1896
A work made of oil on paper, laid on canvas.
The image shows a dense, forested area with towering trees. The composition leads the eye along a pathway into the distance, without a distinct horizon line. The intricate brushstrokes depict the texture and foliage of the trees, suggesting movement and light filtering through the leaves. The color palette is rich and earthy, with shades of green, brown, yellow, and orange, creating a vibrant yet tranquil atmosphere emphasizing light and shadow.

The works in this room are listed below.

Works in this room

A few works by Félix Vallotton, then their contemporaries: makers of the same nationality born within 25 years of them, then works from the same century and place.

Section 1, north wall

  1. Painting of a stately woman seated on a red velvet chair in a blood-red room, a blue-white fireplace to her left. She glances down at the floor with a serene expression toward a tiny blond child—a baby—who sits on the floor tearing up paper, her pink-clad back facing the viewer.
    The Red Room, EtretatFélix Vallotton, 1899Courtesy of the Art Institute of Chicago
  2. This painting shows a large jug filled with orange flowers on a woven brown surface, with three small oranges placed in front of it. The bottom half of the jug is a brownish-red color, while the top part and handles are a light tan. The jug is centered, with flowers extending slightly to the sides. The flowers in the vase are surrounded by dark green leaves and buds. The wall behind the vase is a light gray color, and the vase casts a light shadow on it.
    Marigolds and TangerinesFélix Vallotton, 1924Courtesy National Gallery of Art, Washington

Their contemporaries

  1. The Dream of the Shepherd (Der Traum des Hirten), by Ferdinand Hodler, 1896
    The Dream of the Shepherd (Der Traum des Hirten)Ferdinand Hodler, 1896Courtesy of The Metropolitan Museum of Art
  2. A work made of oil on paper, laid on canvas.
    Staircase in the Park of Villa Chigi di AricciaAlexandre Calame, 1844–1845Courtesy of the Art Institute of Chicago
  3. The image shows a dense, forested area with towering trees. The composition leads the eye along a pathway into the distance, without a distinct horizon line. The intricate brushstrokes depict the texture and foliage of the trees, suggesting movement and light filtering through the leaves. The color palette is rich and earthy, with shades of green, brown, yellow, and orange, creating a vibrant yet tranquil atmosphere emphasizing light and shadow.
    Rays of Sunlight Striking a Woodland PathFriedrich Salathé, c. 1815Courtesy National Gallery of Art, Washington

Their contemporaries, second

  1. Painting of centaur with harp, in water, surrounded by mermaids and mermen.
    In the SeaArnold Böcklin, 1883Courtesy of the Art Institute of Chicago
  2. A work made of etching, aquatint, drypoint and burin on ivory laid paper.
    Pedro Romero killing the halted bull, plate 30 from The Art of BullfightingFrancisco Goya, 1814/16, published 1816Courtesy of the Art Institute of Chicago
  3. A work made of color woodblock print; shikishiban, surimono.
    Distant View of Mount Fuji at Dawn from HakoneUtagawa Kuniyoshi, c. 1828/30Courtesy of the Art Institute of Chicago