Paris-New York: From Fénéon to Vallotton — When writers, artists, and anarchists came together for a new revue and a new world

Feneon Vallotton street scene in ParisFrom the exhibition Félix Vallotton: Painter of Disquiet, running through January 26 at the Metropolitan Museum of Art: Félix Vallotton, “Street Scene in Paris,” 1895.  Gouache and oil on cardboard, 35.9 × 29.5 cm. The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975.

by Paul Ben-Itzak
Introduction and translations copyright Paul Ben-Itzak
The Dance Insider & Arts Voyager

To conclude our celebration of the Orsay museum’s monumental, cross-genre exhibition Félix Fénéon (1861-1944): Les temps nouveaux, de Seurat à Matisse, running through January 27, and which touches on the (re)genesis of Modern Art, Anarchism, Literature, and the Avant-Garde in general, and having already translated Michel Ragon‘s article on Fénéon from his “Dictionary of Anarchism,” we thought we’d translate Maurice Raynal’s article from “Dictionnaire de la peinture moderne” (copyright Fernand Hazan, 1954) on La Revue Blanche, which collated all of these elements, interests, and agendas and whose cover, by Pierre Bonnard, features in the exhibition. (See below.) As another Felix, Vallotton, figured in both Fénéon’s and the Revue Blanche’s universe, in addition to art from the Orsay exhibition we’re also including here images of Vallotton’s oeuvre featured in the Metropolitan Museum of Art’s exhibition  Félix Vallotton: Painter of Disquiet, which closes January 26.

Eleven images from art featured in both exhibitions will, thus, intersect and illustrate our translation of Raynal’s text. Both follow immediately.

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