Danh họa người Thụy Sĩ gốc Pháp Félix Vallotton thường được mệnh danh là “họa sĩ của những nỗi bất an”. Các tác phẩm của ông luôn mang theo sự căng thẳng, bí ẩn và cảm giác bất ổn về mặt tâm lý. Những bức tranh mang đậm tính điện ảnh với độ tương phản cao và những mảng bóng đổ của ông đặt người xem vào góc phòng như một kẻ quan sát một giao kèo bí mật, và "Bữa tối dưới ánh đèn dầu" (Dinner, by Lamplight) chính là tuyệt tác như thế.
The infidel of the Nabis group
Félix Vallotton (1865–1925) was born in Switzerland but spent most of his life in Paris, where he moved to pursue his artistic career. Through the lens of painting, Vallotton personifies individualism and dramatic storytelling. In his paintings of interior spaces, he uses strong shadows and impressive color choices to create cinematic compositions. He depicts people crouching in corners, moving quickly through rooms, or creating the impression that they are hiding something. The scenes are always filled with tension, and at the same time stimulate the viewer’s curiosity to learn more deeply about each character’s story. Besides domestic scenes, he also painted portraits, natural landscapes and created black and white woodcuts.
In 1892, he became a member of the Nabis – a group of artists who abandoned academy drawing to focus on bold contour lines, instead of the fleeting, fleeting frivolity of Impressionism. Even after joining the group, Vallotton always walked his own independent path. In 1899, he left the movement and married Gabrielle Rodrigues-Henriques, a wealthy widow with children of her own. This decision caused some controversy among his friends, because Vallotton lived a rather humble life and always despised excessive luxury.
"Bữa tối dưới ánh đèn dầu"
"Bữa tối dưới ánh đèn dầu" là một trong những bức tranh mà bạn càng nhìn lâu, cảm giác bất an lại càng xâm chiếm. Được sáng tác vào năm 1899, cùng năm Vallotton bước chân vào một gia đình mới, tác phẩm phơi bày cách ông dấn thân vào một cuộc sống vốn không thuộc về mình. Giai đoạn đầu của hôn nhân thường được kỳ vọng sẽ tràn ngập sự ấm áp và hy vọng – nhưng ở đây, Vallotton lại biến một bữa ăn gia đình thành một điều gì đó đầy ám ảnh. Việc sử dụng bảng màu mạnh mẽ, sắc đen cao độ trộn lẫn với sắc vàng gay gắt càng làm đậm đặc thêm bầu không khí nặng nề.
His new role as stepfather brought uncomfortable feelings on both sides, especially between him and Gabrielle’s stepdaughter. The little girl sat across from him with a deep gaze, trying to understand who the man was who suddenly entered their mother and daughter’s lives. Meanwhile, Gabrielle on the right gave her daughter a steady look, as if trying to keep things calm. The man sitting on the left, possibly Gabrielle’s eldest son or another relative, was observing everyone around him as he wolfed down his food.
By placing himself front and center, Vallotton forces the viewer to experience this family gathering from his own perspective. When we look over his shoulder, whether we like it or not, our eyes must meet the confused look of his stepdaughter Madeleine. Vallotton’s body is completely consumed by darkness, turning him into an intruder and making us feel like an intruder as well.
Psychological paradox
If Vallotton portrays this new life with such a cold perspective, why did he choose to engage in it in the first place? He knew that this marriage would protect him both financially and professionally, thanks to Gabrielle’s connections with art brokers. Vallotton himself also paid sincere attention to her.
The real shock came from his entering a world that he had always criticized – the upper class. On the one hand, many of his early works mock the bourgeoisie. On the other hand, being married to a woman like Gabrielle gave him the stability he needed, even if he felt lost most of the time.
After all, Vallotton lives for art. He strongly believed that any time spent doing anything other than painting was a waste. And in the end, this new life became the source of inspiration for his enchanting interior paintings.
Lesson: Navigator Media
