Laziness - Félix Vallotton
Archival giclée
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Description
A woodcut from 1896, 'Laziness' by Félix Vallotton depicts a nude woman reclining on a patterned surface, rendered in stark black and white. The composition and graphic style show the influence of Japanese prints.
Félix Vallotton, a Swiss and French painter, printmaker, and sculptor, created 'Laziness' in 1896. Vallotton was a member of Les Nabis, a group of Post-Impressionist avant-garde artists who aimed to synthesise art and life. He is known for his woodcuts, which display a stark contrast between black and white, and his paintings, which often depict intimate domestic scenes or unsettling social interactions. Vallotton's style blends elements of Japanese Ukiyo-e prints with a modern sensibility, characterised by simplified forms and flattened perspectives. 'Laziness' presents a nude woman reclining on a patterned surface, possibly a bed or divan. The composition is divided into areas of black and white, with the woman's pale form contrasting against the dark background. The patterns on the cushions and blankets are rendered in a graphic style, reminiscent of Japanese prints. The woman's pose is relaxed, and her face is obscured, adding to the sense of anonymity and detachment. The print explores themes of leisure, sensuality, and the complexities of modern life.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Laziness - Félix Vallotton
Artist Biography
Felix Vallotton
He moved to Paris at seventeen and studied at the Academie Julian. His woodcuts, made in the 1890s, revived a medium that most printmakers had abandoned in favour of colour lithography. Working in pure black and white, he carved domestic interiors, street scenes, and a series called Intimites: ten prints depicting the private moments of married life, with an emphasis on adultery, deception and the particular loneliness of two people in the same room. The images are flat, graphic and psychologically sharp.
His support for Alfred Dreyfus, the Jewish officer falsely convicted of espionage, strained his relationship with several of the Nabis. He bought a Kodak camera in 1899 and began using photographs as source material for paintings, manipulating compositions into fictionalised versions of observed reality.
He married the daughter of the art dealer Alexandre Bernheim in 1899, which gave him financial security and access to the Parisian art market. He painted nudes, still lifes and landscapes with a smooth, almost clinical finish that disturbed viewers who expected warmth from pictures of naked women.
He wrote three novels and eight plays, none of which were published in his lifetime. His first novel, La Vie Meurtriere (The Murderous Life), appeared posthumously in 1930. He died the day after his sixtieth birthday.
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