The curious thing about Vallotton's drawings is that we do not miss the half-tones; the unbroken blacks are so skilfully managed that we do not feel the want of Nature's intervening tones between pure black and pure white. His convention in no wise shocks one, but gives keen artistic pleasure.
This question of the accepting of conventions must strike one as a very remarkable matter. The human face, in reality covered with a smooth, soft skin, delicately gradated in tone and colour, is quite completely and satisfactorily conveyed to us by Vallotton, in a cunning arrangement of black splotches; while Huard will model the delicate roundness of a cheek with two or three bold black lines in curves. In both cases we at once realise the truth to Nature, and can even from such suggestions conjure up the particular colouring and flesh texture of the person represented,
Vallotton adds a keen sense of humour to his great ability as a draughtsman. Look at his coloured drawing Don't Move, in Le Rire, where we see a petty official and his family, tidied up for the occasion, being photographed on a national fête day. A typical photographer, engrossed in his work, counts one! two! three preparatory to removing the cap from his camera. So engrossed in his counting is he that he does not notice that his carefully composed group is becoming rapidly discomposed. In the foreground is fat nou-nou, beaming down at the youngest hopeful in her
