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1689:(1925) caused a minor scandal. The portrait of Mado Leviseano, a Paris prostitute, shows her slumped in her chair, with a nonchalant and provocative expression. Speaking of portraits in general, Vallotton wrote: "Human bodies, like faces, have their own individual expressions, which reveal, by their angles, their folds, their wrinkles, the joy, the pain, the boredom, the worries, the appetites, and the physical decay imposed by work, and the corrosive bitterness of voluptuousness." After the death of Vallotton, the work was donated by his family to the Luxembourg Museum, the most important museum of modern art in Paris at the time. But visitors to the museum complained about the woman's posture and facial expression, and after three years it was taken down. His widow battled to have it restored to view, and the Paris museums took it back. It now is in the collection of the
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374:, with whom Vallotton was to form a lifelong friendship. While the Nabis shared certain common ideas and goals, their styles were quite different and personal. He kept himself somewhat apart from the others, earning his jocular title among the Nabis as "The Foreign Nabi". Vallotton's paintings in this period reflected the style of his woodcuts, with flat areas of color, hard edges, and simplification of detail. His subjects included
278:, which demonstrated his skill but also, by their extreme realism, departed from the traditions of portrait painting. They were severely criticized by his professor, Jules Lefebvre. Vallotton increasingly began to work outside of the Académie Julien. He began to have financial difficulties; his father, whose firm was having its own financial problems, was unable to support him. His health also suffered, as he came down with
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the beach of Étretat, the women are almost unrecognizable as such until the picture is examined closely. He wrote in his journal, "I dream of a painting entirely disengaged from any literal concern about nature. I want to construct landscapes entirely based on the emotions that they have created in me, a few evocative lines, one or two details, chosen, without a superstition of the exactitude of the hour or the lighting."
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Despite
Vallotton's new position, he continued his social criticism. He painted numerous scenes of intimate conversations between men and women, sometimes in restaurants, sometimes at the theater—often scenes suggesting seduction, rarely scenes suggesting romance or love. They expressed his satirical
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Many of
Vallotton's paintings depicted interior apartment scenes, usually with men and women, sometimes hinting at scandal or adultery, sometimes simple scenes such as taking sheets out of a linen closet. The paintings often depicted open doorways or open doors leading to bedrooms. His wife Gabrielle
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Vallotton's landscapes and seascapes avoided conventional views and techniques, and presented unusual viewpoints and perspectives. The scene is sometimes seen from above, with the horizon very high in the picture, or without the sky being visible at all. The forms are simplified, and the figures are
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In 1891, he showed his canvases for the last time in the official Salon des
Artistes, and for the first time participated in the more avant-garde Salon des Independants, displaying six paintings. He began to receive commissions from Swiss art patrons. He experimented more frequently with various ways
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of 1899 (Musée d'Orsay), the scene is viewed from above, with three tiny figures: a girl chasing a ball and two mysterious figures in the distance having a conversation. The drama in the picture is the contrast between the sunlight and the shade. In his 1899 painting of laundresses drying clothes on
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The Swiss
Vallotton had been naturalized as a French citizen in 1900. When World War I began in August 1914, he volunteered for the army. He was rejected because of his age (forty-eight), but did what he could do for the war effort. In 1915–16, he returned to the medium of woodcut for the first time
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Despite his successes, his financial situation was still precarious. He experimented for a time with sculpture. He continued to publish occasional art criticism, in addition to other writings. He wrote eight plays, some of which received performances (in 1904 and 1907), although their reviews appear
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described the figures in this particular genre of
Vallotton's paintings in 1910: "he figures don't just smile and cry, they speak ...they express strongly, with the most moving eloquence, when it is Monsieur Vallotton who hears them speak, their humanity and the character of their humanity."
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train station. The marriage brought him financial security, and he gradually abandoned woodcuts as his main source of income. He also established a solid relationship with the
Bernheim family and their gallery, which presented a special exhibition devoted to the Nabis, including ten of his works.
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The female nude was a very common subject for
Vallotton; his journal records about five hundred paintings in this genre. The early nudes, when he was with the Nabis, were stylized and simplified. Later, the paintings became more detailed and realistic. The decor in the paintings was minimal. The
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In 1898 he bought a Kodak no.2 'Bullet' and experimented with it as a basis for at least five interior paintings. His first photos were taken in: Chateau d'Etretat, Chateau de la Naz, the
Natansons' summer house above Cannes, and the Villa Beaulieu in Honfleur. Art historian Anca I Lasc suggests
401:, presented at the Salon des Indépendents, was met with harsh criticism and laughter. But his woodcuts attracted attention and clients, and he became financially secure. Between 1893 and 1897, he received many commissions for illustrations from notable French newspapers and magazines, including
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His woodcut subjects included domestic scenes, bathing women, portrait heads, and several images of street crowds and demonstrations—notably, several scenes of police attacking anarchists. He usually depicted types rather than individuals, eschewed the expression of strong emotion, and "fuse a
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Vallotton's paintings of the post-Nabi period had admirers, and were generally respected for their truthfulness and their technical qualities, but the severity of his style was frequently criticized. Typical is the reaction of the critic who, writing in the March 23, 1910 issue of
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In 1883, Vallotton's father wrote to
Lefebvre, questioning whether his son could make a living as a painter. Lefebre responded that the young Vallotton had the talent and ability to succeed. In the same year, Vallotton succeeded in the rigorous competition to enter the
1456:, depicting the hypocrisy and brutality men could show towards women. His political attitudes changed somewhat in 1899 when he married Gabrielle Rodrigues-Hénriques, a member of a wealthy family, and he found himself a member of the class he was accustomed to condemn.
821:, where they had a summer house. By the end of his life he had completed over 1700 paintings and about 200 prints, in addition to hundreds of drawings and several sculptures. He died in 1925 on the day after his 60th birthday, following cancer surgery in Paris.
669:, complained that Vallotton "paints like a policeman, like someone whose job it is to catch forms and colors. Everything creaks with an intolerable dryness ... the colors lack all joyfulness." In its uncompromising character his art prefigured the
249:, in which he listed all of his paintings, drawings, sculptures and prints. He kept the log his entire life. When he died, it listed one thousand seven hundred works. In the same year he presented his first works at the Paris Salon; the Ingresque
325:, a canvas in which his companion, Hélene Chatenay, portrays an invalid. Completed in 1892, it was Vallotton's last major painting before he began to introduce into his painted works the simplifying style he was developing in his woodcuts.
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during the 1890s, and produced woodcuts which brought him international recognition. Characterized by broad masses of black and white with minimal detail, they include street scenes, bathers, portraits, and a series of ten interiors titled
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that portray charged domestic encounters between men and women. He produced few prints after 1901, and concentrated instead on painting. His later paintings include highly finished portraits and nudes, and landscapes painted from memory.
453:, which deal with tension between men and women. Vallotton's woodcuts were widely disseminated in periodicals and books in Europe as well as in the United States, and have been suggested as a significant influence on the graphic art of
302:, writing some thirty articles about the Paris art world until 1897. In the same year he made a European tour, visiting Berlin, Prague, and Venice. He was particularly impressed by Italy, and returned there frequently in later years.
630:, and sold several works. In May 1903, the Bernheim gallery gave him a one-man show, which brought him good reviews. At the end of the year, the French government made its first purchase of one of his paintings for the
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Another major event during this period was his marriage in 1899 to
Gabrielle Rodrigues-Hénriques, the widowed daughter of Alexandre Bernheim, one of the most successful art dealers in Europe and founder of the Galerie
480:, the case of a Jewish army officer falsely accused of aiding the Germans. The Nabis were divided, with Vallotton passionately defending Dreyfus. He produced a series of satirical woodcuts on the affair, including
786:, his last prints. In June 1917, the Ministry of Fine Arts sent him, along with two other artists, for a three-week tour of the front lines. The sketches he produced became the basis for a group of paintings,
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Vallotton's brother Paul was an art dealer and founded the Galerie Paul Vallotton in Lausanne in 1922, which continued operation for many years under the control of his descendants. Vallotton's niece was
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Switzerland for several weeks to recover, and there painted several Alpine landscapes. In 1889 he also met Hélene Chatenay, an employee in a Swiss factory or shop, who became his companion for ten years.
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Vallotton was recognized as a very accomplished portrait painter, and painted portraits of many of the leading figures in the arts of his time. His early work included a portrait of his fellow Nabi
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choice of colors—particularly the use of complementary red and green—emphasizes the paleness of the model's skin. There is no effort to make the models romantic or beautiful, and they never smile.
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During his Nabi period in the 1890s, Vallotton was living largely from the income he made making illustrations for fashion magazines and popular novels, He created a series of paintings called
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805:", landscapes composed in the studio from memory and imagination, and on flamboyantly erotic nudes. He had persistent health problems, and he and his wife passed the winters in
473:(1903) was based on a photograph taken in Vallotton's own Paris home on Rue Milan or rue de Belles Feuilles. Therefore, his paintings were most likely based on real interiors.
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and the other new Paris department stores. His street scenes were filled with activity and movement, capturing small scenes that appealed to his sense of humor or irony.
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His fortunes changed for the better at the beginning of 1907, with a show at the Bernheim-Jeune Gallery and the sale of thirteen paintings. He also presented a painting,
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In the years after the Nabis, the reputation of Vallotton grew. In January 1903, he presented a selection of his works at exposition of painters of the
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Sympathetic to the anarchist movement in his youth, Vallotton was an intense critic of Parisian life and values of the Paris upper class in the
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appeared in many of the paintings, and the apartments resembled his own on rue des Belles-Feuilles. This theme is exemplified by his painting
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among them, in which he recorded with cool detachment the ruined landscape. The works made by the three artists were presented at the
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as well as his first painted self-portrait, which received an honorable mention. In the same year he presented a painting at the
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1668:. The portraits of Vallotton featured both precision and a certain cold realism. He painted the celebrated American art patron
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of Chicago. He also made woodcuts for the covers of theater programs and book illustrations. One of his prominent patrons was
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A retrospective exhibition by the Salon des Indépendants took place in 1926. Some of Vallotton's works were exhibited at the
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showing stepson Max, stepdaughter Madeline, with Gabrielle on his right with the back of the own artist's head.
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140:. He painted portraits, landscapes, nudes, still lifes, and other subjects in an unemotional, realistic style.
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graphic wit with an acerbic if not ironic humor". Vallotton's graphic art reached its highest development in
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of making prints, using a technique called xylographie, in which he became very adept. He executed his first
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The meticulous style of painting seen in the works of Vallotton's early period reached its zenith in
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He was also active as a writer. He published art criticism during the 1890s, and his novel
124:; December 28, 1865 – December 29, 1925) was a Swiss and French painter and
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to have been unfavorable. He also wrote three novels, including the semi-autobiographical
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that flourished in Germany during the 1920s, and has a further parallel in the work of
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Cahn, Isabelle & Vallotton, Félix and Galeries nationales du Grand Palais (2013).
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scenes, portraits and nudes. Examples of his Nabi style are the deliberately awkward
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Visualizing the nineteenth-century home : modern art and the decorative impulse
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After a brief honeymoon in Switzerland, they moved to a large apartment on near the
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Newman, Sasha M., Félix Vallotton, Marina Ducrey, and Lesley K. Baier (1991).
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in 1890, and Vallotton, who was like many artists of his era an enthusiast of
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since 1901 to express his feelings for his adopted country in the series,
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By 1900, the Nabis had drifted apart. One source of the division was the
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1469:(1909) depicts a woman in a bar seducing a provincial visitor to Paris.
1089:(1898), right panel of a triptych showing shoppers in a department store
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in American public collections, on the French Sculpture Census website
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1233:(1887), and was most frequent in his work between 1898 and about 1904.
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In 1885 the methodical Vallotton began keeping a notebook, called his
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There are few interiors by Vallotton that show children except for
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Thereafter he devoted his attention almost entirely to painting.
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Frèches-Thory, Claire & Perucchi-Petry, Ursula, ed. (1993).
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642:(The Murderous Life), begun in 1907 and published posthumously.
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After the end of the war, Vallotton concentrated especially on
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In January 1882 he settled in Rue Jacob in the neighborhood of
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Vallotton was born into a conservative middle-class family in
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His paintings began to be noticed by the public and critics;
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In 1887 Vallotton presented two portraits at the Salon, the
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1363:(1896), oil on board, 52 x 66 cm, private collection
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Félix Vallotton: His Life, His Technique, His Paintings
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and then a bout of depression. In 1889 he returned to
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often small and almost unrecognizable. In his famous
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Box Seats at the Theatre, the Gentleman and the Lady
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1569:flower; these are the problems for me to resolve."
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488:on January 23, 1898, at the height of the affair.
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168:(The Murderous Life) was published posthumously.
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908:Le Bois de la Gruerie et le ravin des Meurissons
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777:The First World War and final years (1915–1925)
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2429:Ducrey, Marina & Vallotton, Felix (2007).
1557:In his later years, painting in his studio in
1460:view of life in Paris at the time. The critic
680:In 1912 the French government offered him the
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128:associated with the group of artists known as
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2472:Rousseau, Éloi & Protais, Johann (2013).
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2297:cited in Rousseau and Protais (2013), pg. 64
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2508:List of paintings by Vallatton in Wikidata
2462:. New Haven: Yale University Art Gallery.
2389:Félix Vallotton: The Nabi from Switzerland
2129:: CS1 maint: location missing publisher (
1482:Interior with Couple and Screen (Intimacy)
471:Woman in Blue Rummaging Through a Cupboard
143:His earliest paintings were influenced by
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543:Museum of modern art André Malraux - MuMa
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16:Swiss painter and printmaker (1865–1925)
2328:Rousseau and Protais, (2013) p. 58
2279:Rousseau and Protais (2013), p. 44
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2405:. Paris: RMN-Grand Palais.(in French)
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576:La raison probante (The Cogent Reason)
290:He presented several paintings at the
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2547:Vallotton engraver : analyse of
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2557:Works by Félix Vallotton at Zeno.org
2542:Vallotton Gallery at MuseumSyndicate
2474:Les plus belles oeuvres de Vallotton
2252:Ducrey & Vallotton 2007, pp. 7–8
2001:Rousseau and Protais 2013, pp. 12–13
1980:Rousseau and Protais 2013, pp. 10–11
2366:Rousseau and Protais (2013), p. 116
2288:Rousseau and Protais (2013), pg. 64
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2028:Ducrey & Vallotton 2007, p. 40
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999:Femme nue dormant au bord de l'eau
788:The Church of Souain in Silhouette
292:Paris Universal Exposition of 1889
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2531:The main works of Félix Vallotton
2522:Works by or about Félix Vallotton
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2319:Rousseau and Protais 2013, p. 106
1851:prints had been presented at the
1320:Woman in blue looking in a closet
651:Société des Artistes Indépendants
2445:Die Nabis: Propheten der Moderne
2263:Le Bulletin de la vie artistique
2180:Rousseau and Protais 2013, p. 28
2150:Rousseau and Protais 2013, p. 23
2058:Rousseau and Protais 2013, p. 20
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2010:Rousseau and Protais 2013, p. 16
1989:Rousseau and Protais 2013, p. 12
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352:In 1892, he became a member of
2216:Newman 1991, pp. 195, 266
2101:. Lasc, Anca I. London. 2016.
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705:The port of Honfleur at night
348:, and Félix Vallotton in 1899
239:Self-portrait at 20 years old
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2476:. Paris: Éditions Larousse.
2387:Brodskaïa, Nathalia (1996).
2308:Félix Vallotton, Decouvertes
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1687:The Roumanian in a red dress
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1432:Encounters and conversations
1361:The Mistress and the Servant
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684:, but like his fellow Nabis
382:(1892–93), now in the
121:[feliksedwaʁvalɔtɔ̃]
7:
2813:20th-century Swiss painters
2803:19th-century Swiss painters
1859:e, collected these prints.
1818:
1685:One of his late portraits,
1031:Scenes of the Paris streets
622:After the Nabis (1901–1914)
399:Bathers on a Summer Evening
380:Bathers on a Summer Evening
63:December 29, 1925 (aged 60)
10:
2884:
2486:St. James, Ashley (1978).
2391:. Bournemouth: Parkstone.
2350:Cited in Cahan, Isabelle,
2225:St. James 1978, p. 26
1823:In the western world, the
1679:Portrait of Gertrude Stein
1653:Metropolitan Museum of Art
1073:Metropolitan Museum of Art
1071:(1895), tempera on board,
709:Metropolitan Museum of Art
526:(1892), private collection
329:With the Nabis (1892–1900)
272:Portrait de Félix Jasinski
2868:Swiss emigrants to France
2742:
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1601:Still life with capucines
856:, the illustrator of the
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2724:Toulouse-Lautrec Cooking
2513:Works by Félix Vallotton
2243:Newman 1991, p. 193
2234:Newman 1991, p. 200
1847:: a large exhibition of
1843:, and especially by the
1796:Roumanian in a Red Dress
1634:Onions and a soup tureen
1616:Marigolds and Tangerines
1484:, 1898, tempera on board
1270:(1898), tempera on board
1110:Landscapes and seascapes
599:The Laundress, Blue Room
563:(1898), tempera on board
482:The Age of the Newspaper
276:Les Parents de l'artiste
266:Early career (1887–1891)
195:and the history painter
2433:. Milan: 5 continents.
2415:Ducrey, Marina (1989).
1835:. He was influenced by
1782:Baltimore Museum of Art
1649:Still life with flowers
1620:National Gallery of Art
1618:(1924), oil on canvas,
1501:Baltimore Museum of Art
417:, the publisher of the
113:Félix Édouard Vallotton
45:Félix Édouard Vallotton
2853:20th-century engravers
2798:Académie Julian alumni
2564:The Prodigious Century
2419:. Lausanne: Edita SA.
2375:St. James 1978, pp.7–9
2337:Cited by Isabel Kahn,
2067:Newman 1991, pp. 43–45
1499:(1898), oil on board,
1409:La Blanche et la Noire
1395:Kunstmuseum Winterthur
1171:Laundresses at Étretat
828:, along with works by
738:Honfleur dans la brume
649:, at the Salon of the
447:Intimités (Intimacies)
349:
300:La Gazette de Lausanne
242:
241:, oil on canvas (1885)
185:Saint-Germain-des-Prés
158:Intimités (Intimacies)
130:
2823:Artists from Lausanne
2133:) CS1 maint: others (
2085:St. James 1978, p. 24
1798:(1925), Musée d'Orsay
1726:(1899), Musée d'Orsay
1586:Kunstmuseum Solothurn
1186:Last rays of sunshine
1069:Street Scene in Paris
983:Alyscamps Morning Sun
659:Guillaume Apollinaire
463:Ernst Ludwig Kirchner
336:
237:
193:Jules Joseph Lefebvre
117:French pronunciation:
2838:Swiss wood engravers
1968:St. James 1978, p. 6
1853:École des Beaux-Arts
1254:Museum of Modern Art
1216:The Bay of Trégastel
1014:Self-portrait (1923)
771:Self-portrait (1914)
742:Honfleur in the Mist
667:Neue Zürcher Zeitung
386:, and the symbolist
255:Salon des beaux-arts
225:École des Beaux-Arts
87:École des Beaux-Arts
35:Self-portrait (1897)
2808:Swiss male painters
2751:L'Estampe originale
2651:Henri-Gabriel Ibels
2536:Félix-Vallotton.com
2488:Vallotton: Graphics
2168:Newman 1991, p. 318
2037:Newman 1991, p. 262
2019:St. James 1978, p.5
1948:Notes and citations
1201:The Bay of Le Havre
953:La plage à Honfleur
894:Army Museum (Paris)
792:Musée du Luxembourg
501:Dinner by Lamplight
2767:Post-Impressionism
2671:Ker-Xavier Roussel
2455:(German), (French)
2207:Newman 1991, p. 40
2189:Ducrey 1989, p. 12
2159:Ducrey 1989, p. 30
2076:Newman 1991, p. 76
1837:post-Impressionism
1741:Charles Baudelaire
1442:Assiette au beurre
1035:Les Rassemblements
801:and on "composite
364:Ker-Xavier Roussel
350:
338:Ker-Xavier Roussel
243:
187:, and enrolled in
2863:French anarchists
2828:Swiss printmakers
2775:
2774:
2732:Homage to Cézanne
2551:, wood cut, 1893.
2517:Project Gutenberg
2482:978-2-03-589627-8
2439:978-88-7439-420-3
2411:978-2-07-014212-5
640:La Vie meurtrière
632:Luxembourg Museum
508:Gare Saint-Lazare
427:Stéphane Mallarmé
205:Leonardo da Vinci
197:Gustave Boulanger
166:La Vie meurtrière
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67:Neuilly-sur-Seine
48:December 28, 1865
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2015:
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1964:
1955:
1937:
1922:Félix Fénéon
1920:
1903:
1886:
1871:
1825:relief print
1822:
1811:Aïcha Goblet
1795:
1775:Portrait of
1774:
1756:
1739:Portrait of
1738:
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1706:Portrait of
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1438:Belle Époque
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1375:
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1151:
1135:(ca. 1894),
1132:
1116:
1113:
1102:Place Clichy
1101:
1086:
1068:
1053:
1034:
1030:
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1025:Paris scenes
997:
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892:(1917), The
889:
874:
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848:and others.
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455:Edvard Munch
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78:Swiss/French
2818:Nabis (art)
2793:1925 deaths
2788:1865 births
2686:Jan Verkade
2666:Paul Ranson
1582:Red peppers
1553:Still lifes
1424:Blonde Nude
799:still lifes
784:This is War
524:The Patient
323:The Patient
257:in Geneva.
207:, Holbein,
75:Nationality
2782:Categories
2382:References
1393:, (1912),
1289:on board,
1087:Bon Marché
1039:Bon Marché
834:Modigliani
803:landscapes
435:Eric Satie
229:Montmartre
172:Early life
126:printmaker
2762:Lugné-Poe
2700:Paintings
2431:Vallotton
2125:cite book
2117:922971025
1905:Léon Blum
1888:Paul Adam
1841:Symbolism
1676:made his
1660:Portraits
1567:hortensia
1563:martelage
1283:The Visit
1252:), 1887,
1250:The visit
1224:Interiors
1133:Moonlight
1020:Paintings
923:Landscape
584:Intimités
388:Moonlight
355:Les Nabis
153:Les Nabis
132:Les Nabis
83:Education
2757:Intimism
2619:Painters
2559:(German)
2553:(French)
2538:(French)
2310:, (2013)
1857:Japonism
1833:hatching
1819:Woodcuts
1780:(1907),
1759:(1905),
1651:(1925),
1584:(1915),
1565:) of a
1559:Honfleur
1454:The Kiss
1285:(1899),
1158:, Paris
1154:(1899),
1152:The Ball
1139:, Paris
1117:The Ball
830:van Gogh
819:Normandy
815:Honfleur
811:Provence
547:Le Havre
541:(1893),
178:Lausanne
105:woodcuts
101:Painting
52:Lausanne
2743:Related
2524:at the
1849:ukiyo-e
1497:The lie
1450:The Lie
1426:(1921)
1287:gouache
938:The Ham
744:), 1911
707:(1901)
580:woodcut
308:woodcut
296:Hokusai
284:Zermatt
145:Holbein
138:woodcut
69:, Paris
2735:(1900)
2727:(1898)
2719:(1893)
2711:(1888)
2494:
2480:
2466:
2451:
2437:
2423:
2409:
2395:
2354:(2013)
2341:(2013)
2306:Cahn,
2115:
2105:
1942:, 1897
1925:, 1898
1908:, 1900
1891:, 1896
1874:, 1891
1813:(1922)
1744:(1901)
1711:(1893)
1636:(1925)
1603:(1923)
1547:(1922)
1532:(1909)
1517:(1909)
1411:(1913)
1378:(1908)
1337:(1904)
1322:(1903)
1307:(1901)
1218:(1917)
1203:(1918)
1188:(1911)
1173:(1899)
1104:(1901)
1056:(1887)
1002:, 1921
985:(1920)
970:(1920)
968:Tulips
955:(1919)
940:(1918)
925:(1918)
910:(1917)
890:Verdun
838:Seurat
759:(1912)
725:(1907)
616:(1900)
601:(1900)
586:(1898)
461:, and
437:, and
370:, and
261:Career
201:Louvre
149:Ingres
2612:Nabis
1376:Sleep
539:Waltz
423:Misia
376:genre
217:Manet
209:Dürer
2492:ISBN
2478:ISBN
2464:ISBN
2449:ISBN
2435:ISBN
2421:ISBN
2407:ISBN
2393:ISBN
2135:link
2131:link
2113:OCLC
2103:ISBN
1452:and
1444:and
1391:Nude
688:and
578:, a
274:and
215:and
213:Goya
147:and
60:Died
41:Born
2515:at
2269:BnF
875:War
817:in
809:in
2784::
2359:^
2267:,
2173:^
2143:^
2127:}}
2123:{{
2111:.
2090:^
2042:^
1994:^
1973:^
1839:,
1693:.
862:.
844:,
840:,
836:,
832:,
794:.
677:.
661:.
545:,
465:.
457:,
441:.
433:,
429:,
394:.
366:,
362:,
344:,
340:,
231:.
103:,
89:,
2604:e
2597:t
2590:v
2137:)
2119:.
1248:(
740:(
115:(
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