La Loge de Theatre (Box Seats at the Theater) by Felix Vallotton

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La Loge de Theatre
Source: Wikimedia Commons
Swiss-French artist Felix Vallotton’s paintings are often labeled unsettling and dynamic and La Loge de Theatre (which translates to Box Seats at the Theater) is no different. Vallotton developed his unique and startling artistic style in the rich and vibrant milieu of the Parisian artistic scene. In the wake of the Impressionist movement, Post-Impressionist artists like Vallotton sought to challenge the rules and conventions of art in new and interesting ways.

Vallotton accomplished this by imbuing his paintings with a sense of authenticity and psychological reality. La Loge de Theatre is a fine example of this quality in his work. The piece depicts a man and a woman sitting in a theatre box, gazing down at the viewer from behind the yellow wall of the box. Compositionally, it is quite a strange painting. The two figures are drawn back from the edge of the box, barely visible over the edge of the balcony. In fact, the man’s face is only half visible, his mouth concealed.

The painting is intentionally awkward, creating a very deliberate sense of discomfort in the viewer. In this case, Vallotton uses this awkwardness to make a subtle criticism of society. In La Loge de Theatre, Vallotton points out the distance and disconnect that plagues modern society.

Many French artists tackled the subject of the theatre box throughout the nineteenth and twentieth centuries. Because many classes and sorts of people attended the theatre, it was fertile ground for making social and class commentary. Many artists—Vallotton included—also used the subject of the theatre to explore the ideas of watching and being watched. In this case, the viewer is placed in the position of the performer with critical viewers looking down on them. Yet, this is complicated by the fact that the painted figures are actually the subject of observation. The result is a complex psychological dynamic.

At the end of the day, La Loge de Theatre is a powerful and unsettling piece that is a testament to Vallotton’s imaginative skill as a painter.

Disclaimer: I’m not an art historian or an expert on this topic. The above is my opinion, based on my interpretation of my foreknowledge of art and history. If I’ve done any additional research, I’ll note it above.

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