You shall conjugate... - Félix Vallotton
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Description
A satirical 1904 lithograph by Félix Vallotton, depicting a schoolroom scene with his signature bold, graphic style.
This lithograph by Félix Vallotton appeared in the French satirical magazine L'Assiette au Beurre in 1904. The image depicts a classroom scene where a stern teacher looms over a student, who sits slumped at his desk. The caption, written in the artist's hand, translates to: 'You will conjugate ten times the verb: I watch the flies fly instead of listening to my teacher.' Vallotton employs his characteristic style of flat planes of colour and bold, simplified forms. The composition relies on strong silhouettes and a restricted palette, which was a hallmark of his work for the Nabis group and his later graphic output. By reducing the visual information to essential shapes, he directs the viewer's attention to the power dynamic between the authority figure and the distracted pupil. The stark contrast between the black clothing of the figures and the neutral background creates a graphic clarity that is typical of his woodcuts and lithographic prints. As a contributor to L'Assiette au Beurre, Vallotton often engaged with social and institutional critique. This piece captures a moment of mundane schoolroom discipline, rendered with a dry, observational humour. The lack of unnecessary detail allows the narrative to remain the primary focus. The work demonstrates his ability to convey psychological tension through minimal means, avoiding sentimentality in favour of a sharp, analytical approach to his subject matter. This print offers a glimpse into the satirical culture of early twentieth-century France, where artists frequently used their medium to comment on the rigid structures of society, including the educational system.
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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 shall conjugate... - Félix Vallotton
Our Features
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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
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- 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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