You'll learn... - Félix Vallotton
Archival giclée
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Description
A biting 1903 satirical lithograph by Félix Vallotton, depicting a stern domestic scene with the artist's signature high-contrast graphic style.
This lithograph by Félix Vallotton appeared in the satirical weekly magazine L'Assiette au Beurre in 1903. The work captures a domestic scene of corporal punishment, where a stern figure administers a beating to a child who has failed to memorise their religious lessons. The title, translated as 'You will end up knowing your catechism', provides a biting commentary on the rigid educational and religious structures of the period. Vallotton employs a stark, graphic approach characteristic of his work for the Nabis group and his later printmaking. The composition relies on high-contrast areas of solid black against a neutral, paper-toned background. This reduction of form creates a sense of immediate, almost brutal clarity. The figures are simplified into bold silhouettes, removing unnecessary detail to focus the viewer on the physical action and the power imbalance between the adult and the child. The floorboards and the discarded book provide the only context for the setting, keeping the focus entirely on the interaction. As a contributor to the radical press in Paris, Vallotton used his technical skill to critique social norms. His prints from this era often feature this same economy of line, which allows for a directness that is both humorous and unsettling. The artist avoids sentimentalising the scene, choosing instead to present the harsh reality of the situation with a detached, observational eye. This print is a clear example of his ability to distill complex social critique into a single, punchy visual statement. The work remains a compelling piece of early twentieth-century graphic art, demonstrating the power of the woodcut and lithographic aesthetic to convey narrative tension through minimal means.
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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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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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.
You'll learn... - Félix Vallotton
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
- Choose poster, framed print, canvas or framed canvas
- 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
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Artist Biography
Félix 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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