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Ferdinand Hodler (March 14, 1853 – May 19, 1918) was a Swiss painter. He is one of the best-known Swiss painters of the nineteenth century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of Symbolism which he called "parallelism".
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Ferdinand Hodler (March 14, 1853 – May 19, 1918) was a Swiss painter. He is one of the best-known Swiss painters of the nineteenth century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of Symbolism which he called "parallelism".
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Early life Hodler was born in Bern, the eldest of six children. His father, Johannes Hodler, made a meager living as a carpenter; his mother, Margarete (née Neukomm), was from a peasant family. By the time Hodler was eight years old, he had lost his father and two younger brothers to tuberculosis. His mother remarried, to a decorative painter named Gottlieb Schüpach who had five children from a previous marriage. The birth of additional children brought the size of Hodler's family to thirteen. The family's finances were poor, and the nine-year-old Hodler was put to work assisting his stepfather in painting signs and other commercial projects. After the death of his mother from tuberculosis in 1867, Hodler was sent to Thun to apprentice with a local painter, Ferdinand Sommer. From Sommer, Hodler learned the craft of painting conventional Alpine landscapes, typically copied from prints, which he sold in shops and to tourists.
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Career In 1871, at the age of 18, Hodler travelled on foot to Geneva to start his career as a painter. He attended science lectures at the Collège de Genève, and in the museum there he copied paintings by Alexandre Calame. In 1873 he became a student of Barthélemy Menn, and investigated Dürer’s writings on proportions. He made a trip to Basel in 1875, where he studied the paintings of Hans Holbein—especially Dead Christ in the Tomb, which influenced Hodler's many treatments of the theme of death. He travelled to Madrid in 1878, where he stayed for several months and studied the works of masters such as Titian, Poussin, and Velázquez in the Museo del Prado. In 1880–81, Hodler painted Self-Portrait (The Angry One), in which his expression displayed exasperation at his continued poverty and lack of recognition. It was ridiculed when displayed in Geneva, prompting Hodler's remark to a friend that the Swiss "will not understand me until they see I have been understood elsewhere". He submitted the painting to the Paris Salon, where it was his first work accepted, although it was ignored by the critics. The works of Hodler's early maturity consisted of landscapes, figure compositions, and…
Ferdinand Hodler a adăugat o fotografie
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Parallelism In the last decade of the nineteenth century his work evolved to combine influences from several genres including Symbolism and Art Nouveau. In 1890 he completed Night, a work that marked Hodler's turn toward symbolist imagery. It depicts several recumbent figures, all of them relaxed in sleep except for an agitated man who is menaced by a figure shrouded in black, which Hodler intended as a symbol of death. When Hodler submitted the painting to the Beaux-Arts exhibition in Geneva in February 1891, the entwined nude figures created a scandal; the mayor deemed the work obscene, and it was withdrawn from the show. A few months later, Hodler exhibited Night in Paris at the Salon, where it attracted favorable attention and was championed by Puvis de Chavannes and Rodin. Hodler developed a style he called "parallelism" that emphasized the symmetry and rhythm he believed formed the basis of human society. In paintings such as The Chosen One (1893), groupings of figures are symmetrically arranged in poses suggestive of ritual or dance. Hodler conceived of woman as the embodiment of the desire for harmony with nature, while a child or youth represented innocence and vitality. In Eurythmy (1895), the theme…
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Legacy In his time, Hodler's mural-sized paintings of patriotic themes were especially admired. According to Sepp Kern, Hodler "helped revitalize the art of monumental wall painting, and his work is regarded as embodying the Swiss federal identity." Many of Hodler's best-known paintings are scenes in which characters are engaged in everyday activities, such as the famous woodcutter (Der Holzfäller, 1910, Musée d'Orsay, Paris). In 1908, the Swiss National Bank commissioned Hodler to create two designs for new paper currency. His designs were controversial: rather than portraits of famous men, Hodler chose to depict a woodcutter (for the 50 Swiss franc bank note) and a reaper (for the 100 Franc note). Both appeared in the 1911 Series Two of the notes. Much of Hodler's work is in public collections in Switzerland. Other collections holding major works include the Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, and the Art Institute of Chicago. Controversies concerning Nazi looting and restitution claims Many of Hodler's collectors were German Jews who were persecuted under the Nazis from 1933 to 1945. As a result, concern has been expressed when artworks by Hodler turned up after WWII with gaps in the ownership history.…
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Images of his work on Wikiart.org Bibliographie sélective, revue et augmentée, des articles parus de 1875 à 1918 sur le peintre Ferdinand Hodler Documents publiés sur le peintre Ferdinand Hodler Newspaper clippings about Ferdinand Hodler in the 20th Century Press Archives of the ZBW Ferdinand Hodler: Drawings—Selections from the Musée Jenisch Vevey 2023 exhibition at the Morgan Library & Museum