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Lot Essay
Vallottons Akt Femme de dos aus dem Jahr 1909 zeigt ein Modell in Rückenansicht. Das Gesicht des Modells wird im Profil nur angedeutet, dadurch wird die junge Frau entpersonifiziert. Obwohl die Figur in Rückenansicht nicht zu erkennen ist, verleiht Vallotton ihr durch den signifikanten Körperbau eine individuelle Gestalt. Die Sanduhrfigur, der makellose Teint und die geflochtenen, kastanienbraunen Haare zeigen den Akt in natürlicher Schönheit, der vor dem grau-grünen Hintergrund besonders gut zur Geltung kommt.
In this nude portrait – Femme de dos – from 1909, Vallotton has placed his model with her back to the painter. The model’s face is merely hinted at in profile, making the young woman more anonymous. Despite making it impossible to identify the model from this angle, Vallotton nevertheless gives her her own unique form through her striking physique. Her hourglass figure, her perfect skin tone and her plaited auburn hair reflect the nude model’s natural beauty that stands out particularly well against the grey-green tone of the background.
In this nude portrait – Femme de dos – from 1909, Vallotton has placed his model with her back to the painter. The model’s face is merely hinted at in profile, making the young woman more anonymous. Despite making it impossible to identify the model from this angle, Vallotton nevertheless gives her her own unique form through her striking physique. Her hourglass figure, her perfect skin tone and her plaited auburn hair reflect the nude model’s natural beauty that stands out particularly well against the grey-green tone of the background.