![]() ![]() ![]() ![]() The restraint visible in this use of the open right hand portion of the painting is emphasised by comparison between this work and Scène de rue, painted during the same period around 1895, which shares compositional similarities and yet does not fully utilise the space in the same bold way. Meanwhile the openness of the space to the right, which emphasises the impression of movement and dynamism of the figures, hints at the influence of Japonisme and of his woodblocks while also prefiguring the almost schematic use of bold, dominant planes of colour that would feature in some of his most celebrated paintings from four years later, such as Sur la plage, Dieppe (sold Christie's, Zurich, 5 December 2000, lot 46, CHF2,937,500). In that section alone, Vallotton shows the same interest in people of the day that is visible in his 1895 picture, Bal de l'Opéra. ![]() The tightly-huddled group of figures to the left of En promenade lend the picture a sense of intimisme wholly suited to Vallotton's affiliation with the Nabi painters, especially his friends Bonnard and Vuillard. Painted circa 1895, En promenade filled with the bustle and movement of the streets of Paris in the late Nineteenth Century and yet reveals his mature understanding of the painting vocabulary of the great Nabis artists. ![]()
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