Three quarters of the wood block for the print Money was inked up in black, creating a darkness that suggests the repressed menace and tension that could lurk within the opulent interiors of the bourgeois home.
The silent shadows in the lithographic programmes that Edouard Vuillard designed for the theatre are likewise shrouded in darkness, the extremely dim lighting provided by a single small lamp or window.
Pierre-Louis Mathieu, La génération symboliste, Geneva 1990.
Isabelle Cahn et al., Le théâtre de l'Oeuvre 1893–1900: Naissance du théâtre moderne, Milan 2005.
Peter Parshall et al., The Darker Side of Light: Arts of Privacy, 1850–1900, London 2009.