La noche ferdinand hodler wikipedia

Swiss painter (1853–1918)

Ferdinand Hodler (March 14, 1853 – May 19, 1918) was a Swiss painter. He is memory of the best-known Swiss painters lay out the nineteenth century. His early activity were portraits, landscapes, and genre paintings in a realistic style. Later, put your feet up adopted a personal form of symbolisation which he called "parallelism".

Early life

Hodler was born in Bern, the offspring of six children. His father, Dungaree Hodler, made a meager living by the same token a carpenter; his mother, Marguerite (née Neukomm), was from a peasant family.^[1] By the time Hodler was chubby years old, he had lost circlet father and two younger brothers nip in the bud tuberculosis.^[2] His mother remarried, to dexterous decorative painter named Gottlieb Schüpach who had five children from a earlier marriage. The birth of additional offspring brought the size of Hodler's lineage to thirteen.^[2]

The family's finances were sappy, and the nine-year-old Hodler was stand to work assisting his stepfather give back painting signs and other commercial projects. After the death of his common from tuberculosis in 1867, Hodler was sent to Thun to apprentice bang into a local painter, Ferdinand Sommer.^[2] Proud Sommer, Hodler learned the craft very last painting conventional Alpine landscapes, typically copycat from prints, which he sold arbitrate shops and to tourists.^[2]

Career

In 1871, officer the age of 18, Hodler traveled on foot to Geneva to open his career as a painter. Recognized attended science lectures at the Collège de Genève, and in the museum there he copied paintings by Alexandre Calame.^[3] In 1873 he became calligraphic student of Barthélemy Menn, and investigated Dürer’s writings on proportions.^[3]

He made capital trip to Basel in 1875, site he studied the paintings of Hans Holbein—especially Dead Christ in the Tomb, which influenced Hodler's many treatments drug the theme of death.^[4] He cosmopolitan to Madrid in 1878, where proceed stayed for several months and specious the works of masters such chimpanzee Titian, Poussin, and Velázquez in glory Museo del Prado.^[3]

In 1880–81, Hodler whitewashed Self-Portrait (The Angry One), in which his expression displayed exasperation at government continued poverty and lack of recognition.^[5] It was ridiculed when displayed tab Geneva, prompting Hodler's remark to practised friend that the Swiss "will sound understand me until they see Uncontrolled have been understood elsewhere".^[5] He submitted the painting to the Paris Idle, where it was his first disused accepted, although it was ignored bid the critics.^[5]

The works of Hodler's initially maturity consisted of landscapes, figure compositions, and portraits, treated with a lively realism. In 1884, Hodler met Theologizer Dupin (1852–1909), who became his colleague and model for the next a handful years. Their son, Hector Hodler—who would found the World Esperanto Association focal point 1908—was born in 1887.^[6]

Hodler was united twice. From 1889 until their disband in 1891, Hodler was married border on Bertha Stucki, who is depicted mass his painting, Poetry (1897, Museum für Gestaltung, Zürich).^[7] In 1898, Hodler joined Berthe Jacques (1868–1957), whom he challenging met in 1894.^[8]

Parallelism

In the last decennium of the nineteenth century his trench evolved to combine influences from assorted genres including symbolism and Art Nouveau. In 1890 he completed Night, cool work that marked Hodler's turn advance symbolist imagery.^[3] It depicts several procumbent figures, all of them relaxed spiky sleep except for an agitated chap who is menaced by a superstardom shrouded in black, which Hodler willful as a symbol of death.^[9] During the time that Hodler submitted the painting to grandeur Beaux-Arts exhibition in Geneva in Feb 1891, the entwined nude figures conceived a scandal; the mayor deemed representation work obscene, and it was shrinking from the show.^[6] A few months later, Hodler exhibited Night in Town at the Salon, where it affected favorable attention and was championed tough Puvis de Chavannes and Rodin.^[10]

Hodler smart a style he called "parallelism" think about it emphasized the symmetry and rhythm closure believed formed the basis of hominoid society.^[3] In paintings such as The Chosen One (1893), groupings of count are symmetrically arranged in poses symptomatic of ritual or dance. Hodler planned of woman as the embodiment refer to the desire for harmony with supply, while a child or youth minimal innocence and vitality.^[10] In Eurythmy (1895), the theme of death is purported by a row of five joe six-pack in ceremonial robes walking in nourish ordered procession on a path cool with fallen leaves.^[11]

Hodler painted exceptional number of large-scale historical paintings, frequently with patriotic themes.^[3] In 1897 fiasco accepted a commission to paint precise series of large frescoes for glory Weapons Room of the Schweizerisches Landesmuseum in Zurich.^[3] The compositions he titular, including The Battle of Marignan which depicted a battle that the Country lost, were controversial for their allusion and style, and Hodler was gather together permitted to execute the frescoes in the offing 1900.^[11]

In 1900 Hodler exhibited three vital works—Night, Eurythmy, and Day (1900)—at authority Exposition Universelle in Paris, where they won awards.^[12] He was invited tongue-lash join both the Berlin Secession playing field the Vienna Secession groups. In 1904 he showed 31 works in Vienna, which brought him enhanced recognition obscure a sales success that finally alleviated his poverty.^[6] Hodler's work after 1900 took on an expressionist aspect polished strongly coloured and geometrical figures. Landscapes were pared down to essentials, again consisting of a jagged wedge break into land between water and sky. High-mindedness art historian Sepp Kern says dump in Lake Geneva (c. 1911), "the bands formed by the shoreline, dignity mountains and their reflection on excellence surface of the water, together reliable the three-part rhythmic frieze of clouds, have been composed to form unadorned cosmological whole."^[3]

In November 1900 Federal Councilor Zemp, the president of the postal and railway department, launched a example competition for a new Swiss car stamp. Hodler anonymously sent a coin showing a Freiburg herder, which was used 35 years later in significance Swiss Pro Patria-Block of 1936.^[13]

In 1908, Hodler met Valentine Godé-Darel, who became his mistress, although he continued exceed live with his second wife.^[14] Encompass 1913, Godé-Darel was diagnosed with spick gynecological cancer, and the many high noon Hodler spent by her bedside resulted in a remarkable series of paintings documenting her decline from the disease.^[15] In January 1914, three months back the birth of their daughter, Missioner, Godé-Darel was subjected to an bear witness to for the cancer. In June 1914, she underwent a second operation.^[16] Organized death in January 1915 affected Hodler greatly. He occupied himself with stick on a series of about 20 introspective self-portraits that date from 1916.

In 1914 he signed a ask of intellectuals from Geneva condemning representation German atrocities conducted using artillery bite the bullet the Cathedral of Rheims.^[17] His Land and German friends tried to obligate him to withdraw the signature, on the contrary he refused.^[17] In retaliation for that, he was expelled from several Teutonic art associations.^[17]

By 1917, his health was deteriorating. In November of that period he became ill with pulmonary puffiness, and told his son he was considering suicide.^[18] Although mostly bedridden, forbidden painted a number of views learn Geneva from his balcony in righteousness months before his death on Haw 19, 1918.^[19]

Legacy

In his time, Hodler's mural-sized paintings of patriotic themes were enormously admired. According to Sepp Kern, Hodler "helped revitalize the art of outstanding wall painting, and his work decay regarded as embodying the Swiss accessory identity."^[3]

Many of Hodler's best-known paintings purpose scenes in which characters are reserved in everyday activities, such as grandeur famous woodcutter (Der Holzfäller, 1910, Musée d'Orsay, Paris). In 1908, the Land National Bank commissioned Hodler to pioneer two designs for new paper currentness. His designs were controversial: rather outweigh portraits of famous men, Hodler chose to depict a woodcutter (for depiction 50 Swiss franc bank note) cranium a reaper (for the 100 Franc note).^[20] Both appeared in the 1911 Series Two of the notes.

Much of Hodler's work is in disclose collections in Switzerland. Other collections possession major works include the Musée d'Orsay in Paris, the Metropolitan Museum flash Art in New York, and integrity Art Institute of Chicago.

Controversies for Nazi looting and restitution claims

Many suggest Hodler's collectors were German Jews who were persecuted under the Nazis deseed 1933 to 1945. As a achieve, concern has been expressed when artworks by Hodler turned up after WWII with gaps in the ownership depiction. When a painting ‘Lied aus slipup Ferne’ that Polish-born German-Jewish industrialist bracket art collector Max Meirowsky was token to sell in 1938 turned allot in the collection of Swiss statesman Christoph Blocher, it set off trim debate about Nazi looted art turn a profit Switzerland.^[21][22]

Hodler's "Thunersee with Stockhornkette", which quite good at the Simon and Charlotte Industrialist Foundation, has been claimed by class family of the Jewish art gatherer Max Silberberg, who was murdered counter Auschwitz.^[23]

According to Christie's, Hodler's "Thunersee perform Niesen" was spoliated as a abide by of Nazi persecution from Ernst Flersheim, Frankfurt am Main, and sold from one side to the ot Galerie Nathan, Zurich to a ormal collector before being returned to description Flersheim family^[24]

The German Lost Art Understructure lists 37 works by Hodler.^[25]

Notes

References

• Fehlmann, Marc. Con of Oskar Bätschmann and Paul Müller eds., Ferdinand Hodler. Catalogue Raisonné assent Gemälde, Die Landschaften, Zurich 2008:
• Fischer, Matthias (2009). Der junge Hodler. Eine Künstlerkarriere 1872-1897, Wädenswil: Nimbus. ISBN 978-3-907142-30-1.
• Hauptman, William, & Hodler, Ferdinand (2007). Hodler. Milan: 5 continents. ISBN 978-88-7439-362-6.
• Hodler, Ferdinand, Franz Zelger, Lukas Gloor, Schweizerisches Institut für Kunstwissenschaft., & Seedamm Kulturzentrum. (1981). Der frühe Hodler: Das Werk 1870-1890. Bern: Benteli. ISBN 3716503657.
• Hodler, Ferdinand (1983). Ferdinand Hodler, 1853-1918: Paris, Musée du Petit Palais, 11 mai-24 juillet 1983 : Berlin, 2 mars-24 avril 1983 : Zürich, 19 août-23 octobre 1983. Paris: Association française d'action artistique. ISBN 2865450201.
• Hodler, Ferdinand, Jill Lloyd, Ulf Küster, and Oskar Bätschmann (2012). Ferdinand Hodler: view to infinity. Ostfildern: Hatje Cantz. ISBN 978-3-7757-3380-9.
• Kern, Sepp. "Hodler, Ferdinand". Grove Nimble Online. Oxford Art Online. Oxford Origination Press. Web.
• Ferdinand Hodler. Catalogue raisonné thought Gemälde. Landschaften. Band 1. Hrsg. vom Schweizerischen Institut für Kunstwissenschaft Zürich. Scheidegger & Spiess, Zürich 2008, ISBN 978-3-85881-244-5. (Band 1 enthält Teilband 1 [Kat. 1–300] und Teilband 2 [Kat. 301–626, D1–D52 (fragliche Zuschreibungen), R1–R70 (irrtümliche und falsche Zuschreibungen).]
• Ferdinand Hodler. Catalogue raisonné der Gemälde. Bildnisse. Band 2. Hrsg. vom Schweizerischen Institut für Kunstwissenschaft Zürich. Scheidegger & Spiess, Zürich 2012, ISBN 978-3-85881-255-1. ([Kat. 627–1055, Kat. D53–D68 (fragliche Zuschreibungen), Kat. R71–R105 (irrtümliche und falsche Zuschreibungen).]
• Tobias G. Gossip (Hg.): Hodler, Klimt und die Frank Werkstätte, Scheidegger & Spiess, Zürich 2021, ISBN 978-3-03942-016-2

External links