Linocut – Felix Vallotton |
able, 1882 |
Critical Investigation Vallotton simplifies the human figure by reducing it to bold silhouettes and clearly defined contours by removing detail and favouring a more graphica approach prioritises the form of the subject over realism, allowing the piece to be interpreted through contrast of tone rather than through texture. In this influenced how I translated the pictures of my clay bust into a linocut by focusing only on the side profile and omitting details in the face that wo the overall shape. My use of light to create shadows on the front of the face take inspiration from Vallotton ' s method of suggesting identity through f detail, letting the profile remain recognizable even when other sections of the bust disappear into darkness. By taking away unnecessary detail, the ima symbolic and more open to interpretation as this shifts any focus from physical likeness to the actual presence of the piece. Although Vallotton doesn compositions imply dramatic lighting through the juxtaposition of black and white of the figures and the background they ' re depicted in. During the stage of my process, I wanted to use very dramatic lighting to exaggerate the shadow cast by the bust against the background, creating an almost doub outline of the bust. This also helped me plan which areas would be coloured and which would be carved out in the lino, effectively using light as a stru also noticed that Vallotton ' s figures never confront the viewer directly and are always looking at something or someone in orout of the scene of the ar linocut, the side profile view of the bust echoes this and encourages observation rather than interaction with the piece. I think the shadow adds ambig the image feel more unresolved and encourages the viewer to interpret the work in a more abstract manner rather than looking for realism or a narrativ |
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1896
82
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Review, Refine, Reflect I refined my linocut by carefully adjusting the balance between black and white areas during the carving process. Certain areas of the face were intentionally carved away to let light define the profile, while others were left solid to strengthen the shadows. I also tried to refine the edges to make the profile as clear as possible- my favourite parts of my prints are the small part of the nose that is lit from behind, the hair close to the ear, and the cheek in darkness. I think these parts were carved the best and if I were to repeat this project, I would be more careful in carving the back of the hair as I think it ' s not a defined or simplified as I would like it to be. This is similar to Vallotton ' s approach, where figure are defined through silhouette rather than detail. These decisions were important in aligning my work with Vallotton ' s graphic style, where contrast and precision are essential to the emotional impact of the image. I was successful in communicating my ideas about identity and distance through the strong contrast and simplified form of the lino. I also liked experimenting with colour in some of my final prints, especially the one shown on the right which fades from red to black.
Print 1 Print 2
Valentina Fabbri
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