Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Tu la trouves un peu dure celle-là! - Félix Vallotton
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A satirical lithograph by Félix Vallotton from 1901, featuring his characteristic bold outlines and stark, ironic social commentary.
This lithograph by Félix Vallotton appeared in the satirical weekly journal L'Assiette au Beurre in 1901. The work captures a grim, darkly humorous scene typical of the artist's contributions to French political and social commentary. A figure lies prone in the grass, seemingly incapacitated or dead, while another individual stands nearby with a rifle, observing the aftermath of the event. The title, translated as 'You'll find that's rather a hard one!', adds a layer of biting irony to the composition. Vallotton employs his signature graphic style, characterised by bold, flat areas of colour and heavy black outlines. The composition is stark, stripping away unnecessary detail to focus on the tension between the two figures. The use of a limited palette, dominated by muted greens and yellows, creates a sense of unease that complements the subject matter. Unlike his more decorative Nabis works, this piece demonstrates his ability to distil complex social narratives into a single, punchy image. The stark contrast between the foreground figure and the background landscape reflects the artist's interest in woodcut aesthetics, which he translated effectively into the medium of lithography. This print offers a glimpse into the critical perspective Vallotton maintained throughout his career, often using his art to question authority and human behaviour. The work remains a clear example of the satirical print culture that flourished in Paris at the turn of the twentieth century, where artists used their skills to engage with the pressing issues of the day through visual wit and sharp observation.
Return policy
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.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
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.
Complete The Look
Tu la trouves un peu dure celle-là! - Félix Vallotton
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Our Features
Designed for Lasting Impact
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
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Premium Box Frame
From $169
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From $59
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From $175
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
Artist Biography
Félix Vallotton
Vallotton was called the Foreign Nabi, which was both a joke and a diagnosis. He was Swiss, from a conservative family in Lausanne, and his temperament was cooler and more detached than the Parisian painters he joined in 1892. The Nabis were interested in mysticism and spiritual art. Vallotton was interested in what happens between people when they think nobody is watching.
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.
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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