Ferdinand Hodler · 1853-1918
The 100 known paintings that tell the story of Ferdinand Hodler
From symbolist figures to the last dawns of Lake Geneva, Hodler gave rhythm to bodies, mountains and even silence.
Hodler first painted daily life, then invented a language of repetition which he called parallelism. His allegories cause a scandal, his landscapes simplify the Alps to the point and Valentine Godé-Darel's cycle looks at it straightforward illness. The journey begins with the works that built his reputation, before crossing his portraits, his work scenes and his Swiss horizons.
Ferdinand Hodler
The night
- Date
- 1889
- Collection
- Kunstmuseum Bern
- Technique or format
- 116.5 × 299 cm
Presented in Geneva in 1891, La Nuit was excluded from the municipal exhibition for indecency before Hodler showed it at his own expense. Death appeared among the sleepers as an intruder with little regard for visiting hours, and this scandal launched the painter's international career.
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Ferdinand Hodler
Eurythmy
- Date
- 1894-1895
- Collection
- Kunstmuseum Bern
- Technique or format
- Oil on canvas, 167 × 245 cm
Five elderly men advance at the same pace in this painting completed around 1895, which has become one of the great images of Hodler's parallelism. Their procession transforms the march towards death into a shared rhythm: solemn, certainly, but never stiff like a class photo.
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Ferdinand Hodler
The truth
- Date
- 1902
- Collection
- Kunsthaus Zurich
- Technique or format
- Oil on canvas
A naked woman spreads the dark veils that surround her: Hodler gives the truth a gesture of unveiling rather than a speech. The 1902 version belongs to this period when its figures became frontal, decorative and almost architectural.
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Ferdinand Hodler
Day III
- Date
- 1900
- Collection
- Kunstmuseum Lucerne
- Technique or format
- 208 × 408 cm
Le Jour responds to La Nuit with the awakening, the light and the opening of bodies. Hodler took up this composition several times around 1900, when his great allegories earned him European recognition.
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Ferdinand Hodler
The gaze into infinity
- Date
- around 1870-1918
- Collection
- Kunstmuseum Basel
- Technique or format
- 446 × 895 cm
Five women in blue dresses perform a slow choreography, painted for the first time during Hodler's final years. The repetitions of gestures make the human body a monumental frieze where infinity seems to begin just beyond the frame.
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Ferdinand Hodler
The tired of life
- Date
- 1892
- Collection
- Bavarian State Painting Collection
- Technique or format
- 149.7 × 294 cm
In 1892, five seated old men composed a meditation without easy effects on exhaustion and death. Their silhouettes respond to each other like variations of the same human condition, a principle that Hodler will soon call his parallelism.
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Ferdinand Hodler
The lumberjack
- Date
- 1910
- Collection
- Kunstmuseum Bern
- Technique or format
- 260 × 211 cm
"The Lumberjack", produced in 1910, observes the gesture of "The Lumberjack" without spectacle. For "The Lumberjack", Hodler contrasts color and drawing, then installs a silent story in "The Lumberjack"; the effort keeps the weight specific to "The lumberjack. At the Kunstmuseum Bern, "The Lumberjack" today documents this stage of his journey.
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Ferdinand Hodler
The Marignan Retreat
- Date
- 1897-1900
- Collection
- Swiss National Museum, Zurich
- Technique or format
- Wall painting
Commissioned for the Swiss National Museum, The Marignan Retreat provoked a long public feud between 1897 and 1900. Hodler refused comfortable heroism: he showed defeat, broken soldiers and a national history that limps forward.
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Ferdinand Hodler
The Day (The Truth)
- Date
- 1896-1898
- Collection
- Art Institute of Chicago
- Technique or format
- 200.5 × 105 cm
Painted between 1896 and 1898, this female figure was first thought of as an allegory of the Day before becoming The Truth. The gesture of removing the sheet transforms the awakening into a revelation, without the need for an alarm clock or a sermon.
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Ferdinand Hodler
Unanimity
- Date
- 1912
- Collection
- Kunsthaus Zurich
- Technique or format
- Oil on canvas
This vast composition derives from the fresco completed in 1913 for Hanover City Hall, dedicated to the city's rallying to the Reformation. Arms raised convert a political episode into a collective wave, with an energy that even a municipal meeting would have difficulty reproducing.
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Ferdinand Hodler
Madame Valentine Godé-Darel ill
- Date
- 1914
- Collection
- orsay Museum
- Technique or format
- 46.7 × 40 cm
Hodler began painting Valentine Godé-Darel's illness after her cancer diagnosis in 1913. In this painting kept at the Musée d'Orsay, the presence of the model remains intact despite the weakening, far from any decorative consolation.
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Ferdinand Hodler
Valentine in agony, January 24, 1915
- Date
- 1915
- Collection
- Kunstmuseum Basel
- Technique or format
- Oil on canvas
The date written in the title fixes one of the last moments of Valentine Godé-Darel, who died the next day. Hodler paints bluntly the agony of the woman he loves; the series remains one of the most gripping accounts of mourning in modern art.
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Ferdinand Hodler
Valentine Godé-Darel im Krankenbett
- Date
- 1914
- Collection
- solothurn Art Museum
- Technique or format
- 63 × 86 cm
The bed here becomes the setting for a daily face-to-face encounter with Valentine's disease. In 1914, Hodler noted the changes in the body and face with overwhelming fidelity, transforming the intimate into historical testimony.
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Ferdinand Hodler
The Chosen One (Der Auserwählte)
- Date
- 1903
- Collection
- Osthaus Museum Hagen
- Technique or format
- Oil and tempera on canvas
"The Chosen One (Der Auserwählte)", dated 1903, develops his motif without superfluous narrative. In "The Chosen One (Der Auserwählte)", Hodler balances the light and dark masses, then installs ample breathing in "The Chosen One (Der Auserwählte)"; her evolution keeps the mark of "The Chosen One (Der Auserwählte)". At the Osthaus Museum Hagen, "The Chosen One (Der Auserwählte)" today documents this stage of his journey.
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Ferdinand Hodler
Valentine Godé-Darel mit aufgelöstem Haar
- Date
- 1913
- Collection
- All Saints Museum
- Technique or format
- 47 × 32 cm
"Valentine Godé-Darel mit aufgelöstem Haar", dated 1913, develops her motif without superfluous narrative. In "Valentine Godé-Darel mit aufgelöstem Haar", Hodler punctuates the contours and intervals, then establishes a surprising intimacy in "Valentine Godé-Darel mit aufgelöstem Haar"; its evolution retains the mark of "Valentine Godé-Darel mit aufgelöstem Haar". At the Toussaint Museum, "Valentine Godé-Darel mit aufgelöstem Haar" today documents this stage of his journey.
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Ferdinand Hodler
Portrait of Valentine Godé-Darel
- Date
- 1912
- Collection
- Kunsthaus Zurich
- Technique or format
- 43 × 33 cm
"Portrait of Valentine Godé-Darel", dated 1912, fixes the presence of the model designated by "Portrait of Valentine Godé-Darel". Hodler isolates depth and surface, then installs a discreetly calculated disorder in "Portrait of Valentine Godé-Darel"; the face escapes the conventions of "Portrait of Valentine Godé-Darel". At the Kunsthaus Zürich, "Portrait of Valentine Godé-Darel" today documents this stage of her journey.
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Ferdinand Hodler
The Shepherd's Dream (Der Traum des Hirten)
- Date
- 1896
- Collection
- Metropolitan Museum of Art
- Technique or format
- 250.2 × 130.5 cm
Made in 1896, this sleeping shepherd sees a circle of almost unreal women appear. The work combines desire, sleep and the Alpine landscape in a symbolist scene where the herd, with great tact, remains off-camera.
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Ferdinand Hodler
Communion with infinity
- Date
- 1892
- Collection
- Kunstmuseum Basel
- Technique or format
- 159 × 97 cm
An isolated figure raises his arms in front of a space reduced to the essentials. In 1892, Hodler already sought to give a visible form to the agreement between human beings and the universe, a theme which would nourish all his monumental painting.
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Ferdinand Hodler
The disillusioned
- Date
- 1892
- Collection
- los Angeles County Museum of Art
- Technique or format
- 56.2 × 45.08 cm
This withdrawn figure belongs to Hodler's meditations on solitude in the early 1890s. The closed pose and massive silhouette give discouragement a physical weight, as if the chair also had to endure the day.
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Ferdinand Hodler
The Sacred Hour
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
Two women face each other in a silent ceremonial, constructed by symmetry and repetition of gestures. The Sacred Hour belongs to large compositions where Hodler invents a spirituality without an imposed religious narrative.
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Ferdinand Hodler
Spring
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
Around 1901, Hodler made spring a meeting between youth, desire and renewal rather than a simple flowery calendar. The figures and vegetation share the same rhythm, as if the season had learned choreography.
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Ferdinand Hodler
Ergriffenheit
- Date
- 1900
- Collection
- Osterreichische Galerie Belvedere
- Technique or format
- 115 × 70.5 cm
Presented around 1900, Ergriffenheit gives a bodily form to the striking emotion announced by its German title. Frontality and suspended gesture explain why the Viennese saw Hodler as an ally of decorative modernism.
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Ferdinand Hodler
Distant song
- Date
- 1913
- Collection
- Kunsthaus Zurich
- Technique or format
- 180 × 129 cm
"Distant Song", dated 1913, develops its motif without superfluous narrative. In "Distant Song", Hodler tightens the light and the material, then installs an unexpected monumentality in "Distant Song"; its evolution keeps the mark from "Distant Song". At the Kunsthaus Zürich, "Distant Song" today documents this stage of its journey.
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Ferdinand Hodler
The Speaker
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
"The Speaker", dated an unspecified date for "The Speaker", develops his motif without superfluous narrative. In "The Speaker", Hodler stages the figures and decor, then installs a silent story in "The Speaker"; its evolution keeps it mark of "The Speaker". "The Speaker" remains a distinct stage in his journey.
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Ferdinand Hodler
The soldiers are preparing
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
"The Soldiers Prepare", produced on an unspecified date for "The Soldiers Prepare", observes the gesture of "The Soldiers Prepare" without spectacle. For "The Soldiers Prepare", Hodler balances the movement and waiting, then installs a living symmetry in "Soldiers Prepare"; the effort keeps the weight specific to "Soldiers prepare". "Soldiers prepare" remains a distinct stage in his journey.
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Ferdinand Hodler
The modern Grütli
- Date
- 1878
- Collection
- gottfried Keller Federal Foundation
- Technique or format
- 100 × 131 cm
"The Modern Grütli", dated 1878, develops its motif without superfluous narrative. In "The Modern Grütli", Hodler punctuates the motif and its repetition, then establishes a voluntary clarity in "The Modern Grütli"; its evolution keeps it brand of "The Modern Grütli". At the Gottfried Keller Federal Foundation, "The Modern Grütli" today documents this stage of its journey.
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Ferdinand Hodler
Gymnasts' banquet
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
"Gymnasts' Banquet", dated to an unspecified date for "Gymnasts' Banquet", develops its motif without superfluous narrative. In "Gymnasts' Banquet", Hodler isolates the light and dark masses, then establishes restrained emotion in "Gymnasts’ Banquet"; its evolution retains the mark of "Gymnasts’ Banquet". "Gymnasts’ Banquet" remains a distinct stage of his journey.
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Ferdinand Hodler
The Reaper
- Date
- 1878
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 71.5 × 114 cm
"The Reaper", produced in 1878, observes the gesture of "The Reaper" without spectacle. For "The Reaper", Hodler deploys the contours and intervals, then installs an architecture of the gaze in "The Reaper"; the effort keeps it weight specific to "The Reaper". At the Kunstsammlung Thomas Schmidheiny, "The Reaper" today documents this stage of his journey.
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Ferdinand Hodler
Halberdier
- Date
- 1895
- Collection
- Dallas Museum of Art
- Technique or format
- 331.5 × 125.73 cm
"Hallebardier", produced in 1895, observes the gesture of "Hallebardier" without spectacle. For "Hallebardier", Hodler contrasts depth and surface, then establishes a balance without stiffness in "Hallebardier"; the effort keeps the weight specific to "Hallebardier". At the Dallas Museum of Art, "Hallebardier" today documents this stage of its journey.
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Ferdinand Hodler
Enchanted boy
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
"Enchanted Boy", dated to an unspecified date for "Enchanted Boy", develops its motif without superfluous narrative. In "Enchanted Boy", Hodler tunes the verticals and horizon, then installs an immediately readable force in " Enchanted boy; his evolution keeps the mark of "Enchanted Boy". "Enchanted Boy" remains a distinct stage of his journey.
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Ferdinand Hodler
Childhood
- Date
- 1893
- Collection
- stadel Museum
- Technique or format
- 50 × 31.2 cm
"Enfance", dated 1893, develops its motif without superfluous narrative. In "Enfance", Hodler simplifies the pose and look, then installs ample breathing in "Enfance"; its evolution keeps the mark of "Childhood". At the museum Städel, "Enfance" today documents this stage of its journey.
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Ferdinand Hodler
Devotion
- Date
- 1882
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 80 × 100 cm
"Dévotion", dated 1882, develops its motif without superfluous narrative. In "Dévotion", Hodler anchors gestures and silences, then establishes a surprising intimacy in "Dévotion"; its evolution keeps the mark of "Dévotion". At Kunstsammlung Thomas Schmidheiny, "Devotion" today documents this stage of his journey.
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Ferdinand Hodler
Lake Geneva from Chexbres
- Date
- 1905
- Collection
- Kunstmuseum Basel
- Technique or format
- 82.1 × 104.2 cm
"Lake Lake Geneva from Chexbres", dated 1905, takes up "Lake Lake Geneva from Chexbres" as a constructed landscape. Hodler brings color and drawing into dialogue, then installs a discreetly calculated disorder in "Lake Lake Geneva from Chexbres"; the atmosphere of "from Chexbres" gives its duration to "Lake Lake Geneva from Chexbres". At the Kunstmuseum Basel, "Lake Lake Geneva from Chexbres" today documents this stage of its journey.
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Ferdinand Hodler
Thunersee mit symmetrischer Spiegelung
- Date
- 1909
- Collection
- Geneva Museum of Art and History
- Technique or format
- 67.5 × 92 cm
"Thunersee mit symmetrischer Spiegelung", dated 1909, takes up "Thunersee mit symmetrischer Spiegelung" as a constructed landscape. Hodler tightens the plans and their echoes, then installs a very elaborate simplicity in "Thunersee mit symmetrischer Spiegelung; the atmosphere of "symmetrischer Spiegelung" gives its duration to "Thunersee mit symmetrischer Spiegelung". At the Geneva Museum of Art and History, "Thunersee mit symmetrischer Spiegelung" documents today this stage of his journey.
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Ferdinand Hodler
Lake Thun and the Stockhorn
- Date
- 1910
- Collection
- National Galleries of Scotland
- Technique or format
- 83 × 105.4 cm
"Lake Thun and the Stockhorn", dated 1910, takes up "Lake Thun and the Stockhorn" as a constructed landscape. Hodler floors the near and far, then installs a tension contained in "Lake Thun and the Stockhorn" "; the atmosphere of "the Stockhorn" gives its duration to "Lake Thun and the Stockhorn". At the National Galleries of Scotland, "Lake Thun and the Stockhorn" today documents this stage of its journey.
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Ferdinand Hodler
Mount Niesen seen from Heustrich
- Date
- 1910
- Collection
- Kunstmuseum Basel
- Technique or format
- 83 × 105.5 cm
"Mount Niesen seen from Heustrich", dated 1910, repeats "Mount Niesen seen from Heustrich" as a constructed landscape. Hodler balances light and matter, then establishes a very constructed calm in "Mount Niesen seen from Heustrich"; the atmosphere of "de Heustrich" gives its duration to "Mount Niesen seen from Heustrich". At the Kunstmuseum Basel, "Mount Niesen seen from Heustrich" today documents this stage of its journey.
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Ferdinand Hodler
The Jungfrau massif, seen from Isenfluh
- Date
- 1902
- Collection
- Kunstmuseum Basel
- Technique or format
- 75 × 56 cm
"The Jungfrau massif, seen from Isenfluh", dated 1902, takes up "The Jungfrau massif, seen from Isenfluh" as a constructed landscape. Hodler punctuates the figures and decor, then installs a frontal presence in "The massif of the Jungfrau, seen from Isenfluh; the atmosphere of "seen from Isenfluh" gives its duration to "The Jungfrau massif, seen from Isenfluh". At the Kunstmuseum Basel, "The Jungfrau massif, seen from Isenfluh" today documents this stage of its journey.
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Ferdinand Hodler
Der Grindelwaldgletscher
- Date
- 1911
- Collection
- Kunsthaus Zurich
- Technique or format
- 94 × 81 cm
"Der Grindelwaldgletscher", dated 1911, takes up "Der Grindelwaldgletscher" as a constructed landscape. Hodler isolates movement and expectation, then installs an almost musical rhythm in "Der Grindelwaldgletscher"; the atmosphere of "Der Grindelwaldgletscher" gives its duration to "Der Grindelwaldgletscher". At the Kunsthaus Zürich, "Der Grindelwaldgletscher" is now documenting this stage of its journey.
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Ferdinand Hodler
Eiger, Monch und Jungfrau über dem Nebelmeer
- Date
- 1908
- Collection
- Private collection
- Technique or format
- 69 × 94 cm
"Eiger, Monch und Jungfrau über dem Nebelmeer", dated 1908, repeats "Eiger, Monch und Jungfrau über dem Nebelmeer" as a constructed landscape. Hodler deploys the pattern and its repetition, then installs an unemphasized gravity in " Eiger, Mönch und Jungfrau über dem Nebelmeer; the atmosphere of "dem Nebelmeer" gives its duration to "Eiger, Mönch und Jungfrau über dem Nebelmeer". "Eiger, Mönch und Jungfrau über dem Nebelmeer". "Eiger, Mönch und Jungfrau über dem Nebelmeer" remains a distinct stage in its journey.
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Ferdinand Hodler
Eiger, Monch und Jungfrau in der Morgensonne
- Date
- 1908
- Collection
- Private collection
- Technique or format
- 67 × 91 cm
"Eiger, Monch und Jungfrau in der Morgensonne", dated 1908, repeats "Eiger, Monch und Jungfrau in der Morgensonne" as a constructed landscape. Hodler opposes the light and dark masses, then installs an unexpected monumentality in "Eiger, Monch und Jungfrau in der Morgensonne"; the atmosphere of "der Morgensonne" gives its duration to "Eiger, Monch und Jungfrau in der Morgensonne". "Eiger, Monch und Jungfrau in der Morgensonne" remains a distinct stage of sound course.
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Ferdinand Hodler
Der Monch mit Wolken
- Date
- 1911
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 64.5 × 91.5 cm
"Der Monch mit Wolken", dated 1911, repeats "Der Monch mit Wolken" as a constructed landscape. Hodler tunes the contours and intervals, then installs a silent narrative in "Der Monch mit Wolken"; the atmosphere of "mit Wolken" gives its duration to "Der Monch mit Wolken". At the Kunstsammlung Thomas Schmidheiny, "Der Monch mit Wolken" today documents this stage of its journey.
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Ferdinand Hodler
Les Dents du Midi seen from Chesières
- Date
- 1912
- Collection
- Kunstmuseum Basel
- Technique or format
- 65.5 × 88.5 cm
"Les Dents du Midi vues de Chesières", dated 1912, takes up "Les Dents du Midi vues de Chesières" as a constructed landscape. Hodler simplifies the depth and surface, then installs a living symmetry in "Les Dents du Midi views of Chesières; the atmosphere of "de Chesières" gives its duration to "Les Dents du Midi vues de Chesières". At the Kunstmuseum Basel, "Les Dents du Midi vues de Chesières" today documents this stage of its journey.
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Ferdinand Hodler
The Great Muveran von Villars aus
- Date
- 1912
- Collection
- von-der-heydt Museum
- Technique or format
- 53 × 75 cm
"The Grand Muveran von Villars aus", dated 1912, takes up "The Grand Muveran von Villars aus" as a constructed landscape. Hodler anchors the verticals and the horizon, then establishes a voluntary clarity in "The Grand Muveran von Villars aus"; the atmosphere of "Villars aus" gives its duration to "The Grand Muveran von Villars aus". At the Von-der-Heydt museum, "The Grand Muveran von Villars aus" today documents this stage of his journey.
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Ferdinand Hodler
Der Thunersee von Lessigen aus
- Date
- 1904
- Collection
- Kunstmuseum Bern
- Technique or format
- 80 × 100 cm
"Der Thunersee von Lessigen aus", dated 1904, takes up "Der Thunersee von Lessigen aus" as a constructed landscape. Hodler brings pose and gaze into dialogue, then establishes a restrained emotion in "Der Thunersee von Lessigen aus"; the atmosphere of "Lessigen aus" gives its duration to "Der Thunersee von Lessigen aus". At the Kunstmuseum Bern, "Der Thunersee von Lessigen aus" today documents this stage of its journey.
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Ferdinand Hodler
Thunersee mit Stockhornkette
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
"Thunersee mit Stockhornkette", dated to an unspecified date for "Thunersee mit Stockhornkette", repeats "Thunersee mit Stockhornkette" as a constructed landscape. Hodler tightens gestures and silences, then installs one architecture of the gaze in "Thunersee mit Stockhornkette"; the atmosphere of "mit Stockhornkette" gives its duration to "Thunersee mit Stockhornkette". "Thunersee mit Stockhornkette" remains a distinct stage in his journey.
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Ferdinand Hodler
Genfersee von Chexbres aus
- Date
- 1905
- Collection
- Kunsthaus Zurich
- Technique or format
- Oil on canvas
"Genfersee von Chexbres aus", dated 1905, takes up "Genfersee von Chexbres aus" as a constructed landscape. Hodler stages color and drawing, then establishes a balance without stiffness in "Genfersee von Chexbres aus"; the atmosphere from "Chexbres aus" gives its duration to "Genfersee von Chexbres aus". At the Kunsthaus Zürich, "Genfersee von Chexbres aus" today documents this stage of its journey.
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Ferdinand Hodler
Der Genfersee von St Prex aus
- Date
- 1901
- Collection
- Private collection
- Technique or format
- 72 × 107 cm
"Der Genfersee von St Prex aus", dated 1901, repeats "Der Genfersee von St Prex aus" as a constructed landscape. Hodler balances the plans and their echoes, then installs an immediately readable force in "Der Genfersee von St Prex aus"; the atmosphere of "Prex aus" gives its duration to "Der Genfersee von St Prex aus". "Der Genfersee von St Prex aus" remains a distinct stage in his journey.
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Ferdinand Hodler
Der Genfersee von Lausanne aus
- Date
- 1912
- Collection
- Private collection
- Technique or format
- 66 × 87 cm
"Der Genfersee von Lausanne aus", dated 1912, takes up "Der Genfersee von Lausanne aus" as a constructed landscape. Hodler cadences the near and the far, then installs ample breathing in "Der Genfersee von Lausanne aus"; the atmosphere of "Lausanne aus" gives its duration to "Der Genfersee von Lausanne aus". "Der Genfersee von Lausanne aus" remains a distinct stage of his journey.
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Ferdinand Hodler
Lake Geneva with the Savoyard Alps
- Date
- 1907
- Collection
- stadel Museum
- Technique or format
- 49.8 × 39.5 cm
"Lake Lake Geneva with the Savoyard Alps", dated 1907, takes up "Lake Lake Geneva with the Savoyard Alps" as a constructed landscape. Hodler isolates light and matter, then establishes a surprising intimacy in "Lake Lake Geneva with the Savoyard Alps; the atmosphere of "Savoyard Alps" gives its duration to "Lake Lake Geneva with the Savoyard Alps". At the Städel museum, "Lake Lake Geneva with the Savoyard Alps" today documents this stage of its journey.
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Ferdinand Hodler
Genfersee mit Mont-Blanc vor Sonnenaufgang
- Date
- 1918
- Collection
- Private collection
- Technique or format
- 66 × 80.5 cm
"Genfersee mit Mont-Blanc vor Sonnenaufgang", dated 1918, repeats "Genfersee mit Mont-Blanc vor Sonnenaufgang" as a constructed landscape. Hodler deploys the figures and decor, then installs a discreetly calculated disorder in " Genfersee mit Mont-Blanc vor Sonnenaufgang; the atmosphere of "vor Sonnenaufgang" gives its duration to "Genfersee mit Mont-Blanc vor Sonnenaufgang". "Genfersee mit Mont-Blanc vor Sonnenaufgang" remains a distinct stage of its journey.
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Ferdinand Hodler
Genfersee mit Mont-Blanc in der Morgendämmerung
- Date
- 1918
- Collection
- Geneva Museum of Art and History
- Technique or format
- 77 × 152 cm
"Genfersee mit Mont-Blanc in der Morgendämmerung", dated 1918, repeats "Genfersee mit Mont-Blanc in der Morgendämmerung" as a constructed landscape. Hodler opposes movement and waiting, then establishes a very elaborate simplicity in "Genfersee mit Mont-Blanc in der Morgendämmerung"; the atmosphere of "der Morgendämmerung" gives its duration to "Genfersee mit Mont-Blanc in der Morgendämmerung". At the Geneva Museum of Art and History, "Genfersee mit Mont-Blanc in der Morgendämmerung". der Morgendämmerung" today documents this stage of his journey.
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Ferdinand Hodler
Genfersee mit Mont-Blanc im Morgenlicht
- Date
- 1918
- Collection
- Kunsthaus Zurich
- Technique or format
- 65 × 91.5 cm
"Genfersee mit Mont-Blanc im Morgenlicht", dated 1918, repeats "Genfersee mit Mont-Blanc im Morgenlicht" as a constructed landscape. Hodler grants the motif and its repetition, then installs a tension contained in "Genfersee mit Mont Blanc im Morgenlicht; the atmosphere of "im Morgenlicht" gives its duration to "Genfersee mit Mont-Blanc im Morgenlicht". At the Kunsthaus Zürich, "Genfersee mit Mont-Blanc im Morgenlicht" today documents this stage of his course.
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Ferdinand Hodler
Lake Geneva and Mont-Blanc range at dawn
- Date
- 1918
- Collection
- staechelin collection
- Technique or format
- 23.7 × 33.5 cm
"Lake Geneva and Mont-Blanc range at dawn", dated 1918, repeats "Lake Geneva and Mont-Blanc range at dawn" as a constructed landscape. Hodler simplifies the light and dark masses, then establishes a very calm built in "Lake Geneva and Mont-Blanc range at dawn"; the atmosphere of "at dawn" gives its duration to "Lake Geneva and Mont-Blanc range at dawn". At the Staechelin collection, "Lake Geneva and Mont-Blanc range at dawn". the Dawn today documents this stage of its journey.
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Ferdinand Hodler
Genfersee von Caux aus
- Date
- 1917
- Collection
- solothurn Art Museum
- Technique or format
- 65 × 81 cm
"Genfersee von Caux aus", dated 1917, takes up "Genfersee von Caux aus" as a constructed landscape. Hodler anchors the contours and intervals, then installs a frontal presence in "Genfersee von Caux aus"; the atmosphere of " Caux aus" gives its duration to "Genfersee von Caux aus". At the Solothurn Art Museum, "Genfersee von Caux aus" today documents this stage of its journey.
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Ferdinand Hodler
Landschaft bei Caux mit aufsteigenden Wolken
- Date
- 1917
- Collection
- Kunsthaus Zurich
- Technique or format
- 65.5 × 81 cm
"Landschaft bei Caux mit aufsteigenden Wolken", dated 1917, takes up "Landschaft bei Caux mit aufsteigenden Wolken" as a constructed landscape. Hodler brings depth and surface into dialogue, then establishes an almost musical rhythm in "Landschaft bei Caux mit aufsteigenden Wolken"; the atmosphere of "aufsteigenden Wolken" gives its duration to "Landschaft bei Caux mit aufsteigenden Wolken". At the Kunsthaus Zürich, "Landschaft bei Caux mit aufsteigenden Wolken" today documents this stage of his journey.
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Ferdinand Hodler
Aufsteigender Nebel über den Savoyer Alpen
- Date
- 1917
- Collection
- Private collection
- Technique or format
- 68.5 × 88 cm
"Aufsteigender Nebel über den Savoyer Alpen", dated 1917, repeats "Aufsteigender Nebel über den Savoyer Alpen" as a constructed landscape. Hodler tightens the verticals and the horizon, then installs an unemphasized gravity in " Aufsteigender Nebel über den Savoyer Alpen; the atmosphere of "Savoyer Alpen" gives its duration to "Aufsteigender Nebel über den Savoyer Alpen". "Aufsteigender Nebel über den Savoyer Alpen" remains a distinct stage in its journey.
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Ferdinand Hodler
Der kahle baum
- Date
- 1917
- Collection
- Private collection
- Technique or format
- 96 × 80 cm
"Der kahle Baum", dated 1917, takes up "Der kahle Baum" as a constructed landscape. Hodler stage poses and looks, then installs an unexpected monumentality in "Der kahle Baum"; the atmosphere of "kahle Baum" gives its duration to "Der kahle Baum." "Der kahle Baum" remains a distinct stage of his journey.
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Ferdinand Hodler
Die Aare bei Solothurn
- Date
- 1915
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 65.5 × 81 cm
"Die Aare bei Solothurn", dated 1915, takes up "Die Aare bei Solothurn" as a constructed landscape. Hodler balances gestures and silences, then installs a silent narrative in "Die Aare bei Solothurn"; the atmosphere of "bei Solothurn" gives its duration to "Die Aare bei Solothurn". At the Kunstsammlung Thomas Schmidheiny, "Die Aare bei Solothurn" today documents this stage of its journey.
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Ferdinand Hodler
Die Gantrischkette
- Date
- 1898
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 38 × 47 cm
"Die Gantrischkette", dated 1898, takes up "Die Gantrischkette" as a constructed landscape. Hodler punctuates the color and drawing, then installs a living symmetry in "Die Gantrischkette"; the atmosphere of "Die Gantrischkette" give its duration to "Die Gantrischkette". At the Kunstsammlung Thomas Schmidheiny, "Die Gantrischkette" today documents this stage of its journey.
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Ferdinand Hodler
Der Salève im Herbst
- Date
- 1891
- Collection
- Kunstmuseum Lucerne
- Technique or format
- 88.4 × 68 cm
"Der Salève im Herbst", dated 1891, takes up "Der Salève im Herbst" as a constructed landscape. Hodler isolates the plans and their echoes, then establishes a voluntary clarity in "Der Salève im Herbst"; the atmosphere of "im Herbst" give its duration to "Der Salève im Herbst". At the Kunstmuseum in Lucerne, "Der Salève im Herbst" today documents this stage of its journey.
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Ferdinand Hodler
Die goldene Aue
- Date
- 1890
- Collection
- Oskar Reinhart Museum "Am Stadtgarten"
- Technique or format
- 70.5 × 52 cm
"Die goldene Aue", dated 1890, develops its motif without superfluous narrative. In "Die goldene Aue", Hodler deploys the near and the distant, then installs a restrained emotion in "Die goldene Aue"; its evolution keeps the mark of " Die goldene Aue. At the Oskar Reinhart Museum "Am Stadtgarten", "Die goldene Aue" today documents this stage of its journey.
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Ferdinand Hodler
Die Strasse nach Evordes
- Date
- 1890
- Collection
- Oskar Reinhart Museum "Am Stadtgarten"
- Technique or format
- 62.5 × 44.5 cm
"Die Strasse nach Evordes", dated 1890, develops his motif without superfluous narrative. In "Die Strasse nach Evordes", Hodler contrasts light and matter, then installs an architecture of the gaze in "Die Strasse nach Evordes"; her evolution keeps the mark of "Die Strasse nach Evordes". At the Oskar Reinhart Museum "Am Stadtgarten", "Die Strasse nach Evordes" today documents this stage of its journey.
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Ferdinand Hodler
Blühender Kirschbaum
- Date
- 1905
- Collection
- Private collection
- Technique or format
- 60 × 48 cm
"Blühender Kirschbaum", dated 1905, takes up "Blühender Kirschbaum" as a constructed landscape. Hodler matches the figures and decor, then establishes a balance without stiffness in "Blühender Kirschbaum"; the atmosphere of "Blühender Kirschbaum" gives its duration to "Blühender Kirschbaum". "Blühender Kirschbaum" remains a distinct stage in his journey.
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Ferdinand Hodler
Baum am Brienzersee vom Bödeli aus
- Date
- 1906
- Collection
- Kunsthaus Zurich
- Technique or format
- 85 × 105 cm
"Baum am Brienzersee vom Bödeli aus", dated 1906, repeats "Baum am Brienzersee vom Bödeli aus" as a constructed landscape. Hodler simplifies movement and waiting, then installs an immediately readable force in "Baum am Brienzersee vom Bödeli aus"; the atmosphere of "Bödeli aus" gives its duration to "Baum am Brienzersee vom Bödeli aus". At the Kunsthaus Zürich, "Baum am Brienzersee vom Bödeli aus" today documents this stage of its journey.
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Ferdinand Hodler
Landschaftlicher Formenrhythmus
- Date
- 1908
- Collection
- Private collection
- Technique or format
- 44.5 × 71 cm
"Landschaftlicher Formenrhythmus", dated 1908, takes up "Landschaftlicher Formenrhythmus" as a constructed landscape. Hodler anchors the pattern and its repetition, then installs ample breathing in "Landschaftlicher Formenrhythmus"; the atmosphere of "Landschaftlicher Formenrhythmus" gives its duration to "Landschaftlicher Formenrhythmus". "Landschaftlicher Formenrhythmus" remains a distinct stage in its journey.
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Ferdinand Hodler
Schynige Platte
- Date
- 1909
- Collection
- Private collection
- Technique or format
- 68 × 98 cm
"Schynige Platte", dated 1909, develops her motif without superfluous narrative. In "Schynige Platte", Hodler brings the light and dark masses into dialogue, then establishes a surprising intimacy in "Schynige Platte"; its evolution keeps the brand of "Schynige Platte". "Schynige Platte" remains a distinct stage in his journey.
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Ferdinand Hodler
Der Montanasee
- Date
- 1915
- Collection
- Private collection
- Technique or format
- 66 × 80 cm
"Der Montanasee", dated 1915, takes up "Der Montanasee" as a constructed landscape. Hodler tightens the contours and intervals, then installs a discreetly calculated disorder in "Der Montanasee"; the atmosphere of "Der Montanasee" gives its duration to "Der Montanasee". "Der Montanasee" remains a distinct stage of its journey.
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Ferdinand Hodler
Self-portrait
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
"Self-portrait", dated an unspecified date for "Self-portrait", fixes the presence of the model designated by "Self-portrait". Hodler stages depth and surface, then installs a very elaborate simplicity in "Self-portrait"; THE face escapes the conventions of "Self-portrait". "Self-portrait" remains a distinct stage of his journey.
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Ferdinand Hodler
Selbstbildnis mit grünem Kittel
- Date
- 1917
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 84.5 × 60.5 cm
"Selbstbildnis mit grünem Kittel", dated 1917, fixes the presence of the model designated by "Selbstbildnis mit grünem Kittel". Hodler balances the verticals and the horizon, then installs a tension contained in "Selbstbildnis mit grünem Kittel". Kittel; the face escapes the conventions of "Selbstbildnis mit grünem Kittel". At the Kunstsammlung Thomas Schmidheiny, "Selbstbildnis mit grünem Kittel" today documents this stage of its journey.
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Ferdinand Hodler
Selbstbildnis mit Stehkragen
- Date
- 1879
- Collection
- Oskar Reinhart Museum "Am Stadtgarten"
- Technique or format
- 102 × 72 cm
"Selbstbildnis mit Stehkragen", dated 1879, fixes the presence of the model designated by "Selbstbildnis mit Stehkragen". Hodler cadences the pose and the look, then establishes a very constructed calm in "Selbstbildnis mit Stehkragen"; THE face escapes the conventions of "Selbstbildnis mit Stehkragen". At the Oskar Reinhart Museum "Am Stadtgarten", "Selbstbildnis mit Stehkragen" today documents this stage of its journey.
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Ferdinand Hodler
Bildnis george navazza
- Date
- 1916
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 61.5 × 53.5 cm
"Bildnis Georges Navazza", dated 1916, fixes the presence of the model designated by "Bildnis Georges Navazza". Hodler isolates gestures and silences, then installs a frontal presence in "Bildnis Georges Navazza"; the face escapes at the convenience of "Bildnis Georges Navazza". At the Kunstsammlung Thomas Schmidheiny, "Bildnis Georges Navazza" today documents this stage of his journey.
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Ferdinand Hodler
Portrait of James Vibert
- Date
- 1907
- Collection
- Art Institute of Chicago
- Technique or format
- Oil on canvas
"Portrait of James Vibert", dated 1907, fixes the presence of the model designated by "Portrait of James Vibert". Hodler deploys color and drawing, then installs an almost musical rhythm in "Portrait of James Vibert"; the face escapes the conventions of "Portrait of James Vibert". At the Art Institute of Chicago, "Portrait of James Vibert" today documents this stage of his journey.
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Ferdinand Hodler
Bildnis Gertrud Muller
- Date
- 1912
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 46 × 38 cm
"Bildnis Gertrud Müller", dated 1912, fixes the presence of the model designated by "Bildnis Gertrud Müller". Hodler contrasts the plans and their echoes, then installs an unemphasized gravity in "Bildnis Gertrud Müller"; the face escapes at the convenience of "Bildnis Gertrud Müller". At the Kunstsammlung Thomas Schmidheiny, "Bildnis Gertrud Müller" today documents this stage of his journey.
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Ferdinand Hodler
Bildnis Willy Russ
- Date
- 1911
- Collection
- Neuchâtel Museum of Art and History
- Technique or format
- 112 × 84 cm
"Bildnis Willy Russ", dated 1911, fixes the presence of the model designated by "Bildnis Willy Russ". Hodler grants the near and the far, then installs an unexpected monumentality in "Bildnis Willy Russ"; the face escapes the conventions of "Bildnis Willy Russ". At the Museum of Art and History in Neuchâtel, "Bildnis Willy Russ" today documents this stage of his journey.
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Ferdinand Hodler
Bildnis Mathias Morhardt
- Date
- 1911
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 90 × 69.5 cm
"Bildnis Mathias Morhardt", dated 1911, fixes the presence of the model designated by "Bildnis Mathias Morhardt". Hodler simplifies light and matter, then installs a silent narrative in "Bildnis Mathias Morhardt"; the face escapes the conventions of "Bildnis Mathias Morhardt". At the Kunstsammlung Thomas Schmidheiny, "Bildnis Mathias Morhardt" today documents this stage of his journey.
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Ferdinand Hodler
Portrait of the dancer Giulia Leonardi
- Date
- 1910
- Collection
- wallraf-richartz Museum
- Technique or format
- 34.5 × 40 cm
"Portrait of the dancer Giulia Leonardi", dated 1910, fixes the presence of the model designated by "Portrait of the dancer Giulia Leonardi". Hodler anchors the figures and decor, then installs a living symmetry in "Portrait of the dancer Giulia Leonardi; the face escapes the conventions of "Portrait of the dancer Giulia Leonardi". At the Wallraf-Richartz Museum, "Portrait of the Dancer Giulia Leonardi" today documents this stage of her journey.
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Ferdinand Hodler
Porträt der Berthe Jacques
- Date
- 1894
- Collection
- Private collection
- Technique or format
- 35 × 28 cm
"Porträt der Berthe Jacques", dated 1894, establishes the presence of the model designated by "Porträt der Berthe Jacques". Hodler brings movement and expectation into dialogue, then establishes voluntary clarity in "Porträt der Berthe Jacques"; the face escapes the conventions of "Porträt der Berthe Jacques". "Porträt der Berthe Jacques" remains a distinct stage of his journey.
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Ferdinand Hodler
Madame de R.
- Date
- 1893
- Collection
- Dresden State Art Collections
- Technique or format
- 35 × 27 cm
"Madame de R.", dated 1893, fixes the presence of the model designated by "Madame de R.". Hodler tightens the motif and its repetition, then installs a restrained emotion in "Madame de R."; the face escapes the convenience of "Madame de R.". ". At the Dresden State Art Collections, "Madame de R." today documents this stage of her journey.
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Ferdinand Hodler
Portrait of Hélène Weiglé
- Date
- 1888
- Collection
- stadel Museum
- Technique or format
- 88.5 × 69.5 cm
"Portrait of Hélène Weiglé", dated 1888, fixes the presence of the model designated by "Portrait of Hélène Weiglé". Hodler stages the light and dark masses, then installs an architecture of the gaze in "Portrait of Hélène Weiglé"; THE face escapes the conventions of "Portrait of Hélène Weiglé". At the Städel museum, "Portrait of Hélène Weiglé" today documents this stage of her journey.
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Ferdinand Hodler
Bildnis Louise-Delphine Duchosal
- Date
- 1885
- Collection
- Kunsthaus Zurich
- Technique or format
- 55 × 46 cm
"Bildnis Louise-Delphine Duchosal", dated 1885, fixes the presence of the model designated by "Bildnis Louise-Delphine Duchosal". Hodler balances contours and intervals, then installs a stiffness-free balance in "Bildnis Louise-Delphine Duchosal"; the face escapes the conventions of "Bildnis Louise-Delphine Duchosal". At the Kunsthaus Zürich, "Bildnis Louise-Delphine Duchosal" today documents this stage of her journey.
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Ferdinand Hodler
The reader
- Date
- 1885
- Collection
- thyssen-bornemisza Museum
- Technique or format
- 31 × 38 cm
"The Reader", produced in 1885, observes the gesture of "The Reader" without spectacle. For "The Reader", Hodler cadences the depth and surface, then installs an immediately readable force in "The Reader"; the effort keeps the weight specific to "The Reader". At the Thyssen-Bornemisza Museum, "The Reader" today documents this stage of his journey.
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Ferdinand Hodler
Der Schuhmacher
- Date
- 1887
- Collection
- Kunsthaus Zurich
- Technique or format
- 46 × 38 cm
"Der Schuhmacher", produced in 1887, observes the gesture of "Der Schuhmacher" without spectacle. For "Der Schuhmacher", Hodler isolates the verticals and the horizon, then installs ample breathing in "Der Schuhmacher"; the effort keeps the weight specific to "Der Schuhmacher". At the Kunsthaus Zürich, "Der Schuhmacher" today documents this stage of his journey.
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Ferdinand Hodler
Der Schuster am Fenster
- Date
- 1882
- Collection
- Private collection
- Technique or format
- 25.2 × 21 cm
"Der Schuster am Fenster", produced in 1882, observes the gesture of "Der Schuster am Fenster" without spectacle. For "Der Schuster am Fenster", Hodler deploys pose and gaze, then establishes a surprising intimacy in "Der Schuster" am Fenster; the effort keeps the weight specific to "Der Schuster am Fenster". "Der Schuster am Fenster" remains a distinct stage in his journey.
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Ferdinand Hodler
Der Netzflicker
- Date
- 1883
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 24 × 18 cm
"Der Netzflicker", produced in 1883, observes the gesture of "Der Netzflicker" without spectacle. For "Der Netzflicker", Hodler contrasts gestures and silences, then installs a discreetly calculated disorder in "Der Netzflicker"; effort keeps the weight specific to "Der Netzflicker". At the Kunstsammlung Thomas Schmidheiny, "Der Netzflicker" today documents this stage of its journey.
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Ferdinand Hodler
Näherin
- Date
- 1885
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 26.7 × 21.6 cm
"Näherin", produced in 1885, observes the gesture of "Näherin" without spectacle. For "Näherin", Hodler grants color and drawing, then establishes a very worked simplicity in "Näherin"; the effort keeps the weight specific to " Näherin". At the Kunstsammlung Thomas Schmidheiny, "Näherin" today documents this stage of his journey.
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Ferdinand Hodler
Das Gebet in der Kathedrale Saint-Pierre in Genf
- Date
- 1882
- Collection
- building of the Winterthur Museum of Fine Arts
- Technique or format
- 37 × 26 cm
"Das Gebet in der Kathedrale Saint-Pierre in Genf", dated 1882, develops his motif without superfluous narrative. In "Das Gebet in der Kathedrale Saint-Pierre in Genf", Hodler simplifies the shots and their echoes, then establishes tension contained in "Das Gebet in der Kathedrale Saint-Pierre in Genf"; its evolution retains the mark of "Das Gebet in der Kathedrale Saint-Pierre in Genf". At the Winterthur Museum of Fine Arts building, "Das Gebet in der Kathedrale Saint-Pierre in Genf" today documents this stage of its journey.
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Ferdinand Hodler
The Drinkers
- Date
- 1886
- Collection
- Geneva Museum of Art and History
- Technique or format
- 170.5 × 141.5 cm
"Les Buveurs", produced in 1886, observes the gesture of "Les Buveurs" without spectacle. For "Les Buveurs", Hodler anchors the near and the distant, then establishes a very constructed calm in "Les Buveurs"; the effort keeps the weight specific to "The Drinkers". At the Geneva Museum of Art and History, "Les Buveurs" today documents this stage of its journey.
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Ferdinand Hodler
Without work
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- 61 × 47 cm
"Without work", produced on an unspecified date for "Without work", observes the gesture of "Without work" without show. For "Without Work", Hodler brings light and matter into dialogue, then installs a frontal presence in " Without work; effort keeps the weight specific to "Without work". "Without work" remains a distinct stage in his journey.
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Ferdinand Hodler
Uhrmacherwerkstätte in Madrid
- Date
- 1879
- Collection
- gottfried Keller Federal Foundation
- Technique or format
- 82 × 93 cm
"Uhrmacherwerkstätte in Madrid", produced in 1879, observes the gesture of "Uhrmacherwerkstätte in Madrid" without spectacle. For "Uhrmacherwerkstätte in Madrid", Hodler tightens the figures and the decor, then sets an almost rhythm musical in "Uhrmacherwerkstätte in Madrid"; the effort keeps the weight specific to "Uhrmacherwerkstätte in Madrid". At the Gottfried Keller Federal Foundation, "Uhrmacherwerkstätte in Madrid" today documents this stage of its journey.
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Ferdinand Hodler
The fisherman
- Date
- 1879
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 27.1 × 37.7 cm
"The Fisherman", produced in 1879, observes the gesture of "The Fisherman" without spectacle. For "The Fisherman", Hodler stages movement and waiting, then installs an unemphasized gravity in "The Fisherman"; the effort keeps the weight specific to " The fisherman. At the Kunstsammlung Thomas Schmidheiny, "The Fisherman" today documents this stage of his journey.
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Ferdinand Hodler
Der Pfarrer
- Date
- 1879
- Collection
- Private collection
- Technique or format
- 78.5 × 60.5 cm
"Der Pfarrer", produced in 1879, observes the gesture of "Der Pfarrer" without spectacle. For "Der Pfarrer", Hodler balances the motif and its repetition, then installs an unexpected monumentality in "Der Pfarrer"; the effort keeps the weight specific to "Der Pfarrer". "Der Pfarrer" remains a distinct stage in his journey.
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Ferdinand Hodler
Bei der Junction
- Date
- 1880
- Collection
- All Saints Museum
- Technique or format
- 25.5 × 36.5 cm
"Bei der Jonction", dated 1880, develops its motif without superfluous narrative. In "Bei der Jonction", Hodler cadences the light and dark masses, then installs a silent narrative in "Bei der Jonction"; its evolution keeps the mark from "Bei der Jonction". At the Musée de Toussaint, "Bei der Jonction" today documents this stage of its journey.
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Ferdinand Hodler
Landschaft an der Jonction bei Genf
- Date
- 1878
- Collection
- von-der-heydt Museum
- Technique or format
- 50 × 70.5 cm
"Landschaft an der Jonction bei Genf", dated 1878, repeats "Landschaft an der Jonction bei Genf" as a constructed landscape. Hodler isolates contours and intervals, then installs a living symmetry in "Landschaft an der Junction bei Genf; the atmosphere of "bei Genf" gives its duration to "Landschaft an der Jonction bei Genf". At the Von-der-Heydt museum, "Landschaft an der Jonction bei Genf" today documents this stage of its journey.
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Ferdinand Hodler
Der Aarekanal bei Thun
- Date
- 1879
- Collection
- Private collection
- Technique or format
- 57 × 72 cm
"Der Aarekanal bei Thun", dated 1879, takes up "Der Aarekanal bei Thun" as a constructed landscape. Hodler deploys depth and surface, then installs a voluntary clarity in "Der Aarekanal bei Thun"; the atmosphere of "bei Thun" gives its duration to "Der Aarekanal bei Thun". "Der Aarekanal bei Thun" remains a distinct stage of its journey.
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Ferdinand Hodler
Die Mühle von Sousterre bei Genf
- Date
- 1878
- Collection
- Private collection
- Technique or format
- 40 × 54 cm
"Die Mühle von Sousterre bei Genf", produced in 1878, observes the gesture of "Die Mühle von Sousterre bei Genf" without spectacle. For "Die Mühle von Sousterre bei Genf", Hodler contrasts the verticals and the horizon, then establishes an emotion retained in "Die Mühle von Sousterre bei Genf"; the effort keeps the weight specific to "Die Mühle von Sousterre bei Genf". "Die Mühle von Sousterre bei Genf" remains a distinct stage of his journey.
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Ferdinand Hodler
Weiden an der Jonction bei Genf.
- Date
- 1878
- Collection
- Kunstsammlung Thomas Schmidheiny
- Technique or format
- 46 × 55.5 cm
"Weiden an der Jonction bei Genf.", dated 1878, develops its motif without superfluous narrative. In "Weiden an der Jonction bei Genf.", Hodler grants pose and gaze, then installs a gaze architecture in "Weiden an der Junction bei Genf.; its evolution retains the mark of "Weiden an der Jonction bei Genf.". At the Kunstsammlung Thomas Schmidheiny, "Weiden an der Jonction bei Genf." today documents this stage of its journey.
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Ferdinand Hodler
Am Ufer of the Manzanares
- Date
- around 1870-1918
- Collection
- Geneva Museum of Art and History
- Technique or format
- 44 × 65 cm
"Am Ufer des Manzanares", dated an unspecified date for "Am Ufer des Manzanares", develops its motif without superfluous narrative. In "Am Ufer des Manzanares", Hodler simplifies gestures and silences, then establishes balance without stiffness in "Am Ufer des Manzanares"; its evolution retains the mark of "Am Ufer des Manzanares". At the Geneva Museum of Art and History, "Am Ufer des Manzanares" today documents this stage of its journey.
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Ferdinand Hodler
Chalet in Hilterfingen
- Date
- 1871
- Collection
- Geneva Museum of Art and History
- Technique or format
- 37 × 50 cm
"Chalet in Hilterfingen", dated 1871, develops its motif without superfluous narrative. In "Chalet in Hilterfingen", Hodler anchors the color and design, then installs an immediately readable force in "Chalet in Hilterfingen"; her evolution keeps the brand of "Chalet in Hilterfingen". At the Geneva Museum of Art and History, "Chalet in Hilterfingen" today documents this stage of its journey.
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Ferdinand Hodler
Grammont
- Date
- around 1870-1918
- Collection
- Private collection
- Technique or format
- Oil on canvas
"Grammont", dated to an unspecified date for "Grammont", takes up "Grammont" as a constructed landscape. Hodler brings the shots and their echoes into dialogue, then installs ample breathing into "Grammont"; the atmosphere of " Grammont" gives its duration to "Grammont". "Grammont" remains a distinct stage of its journey.
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Ferdinand Hodler
Lake Geneva seen from Chexbres
- Date
- 1898
- Collection
- Private collection
- Technique or format
- 100.5 × 130 cm
"Lake Lake Geneva seen from Chexbres", dated 1898, takes up "Lake Lake Geneva seen from Chexbres" as a constructed landscape. Hodler tightens the near and the distant, then establishes a surprising intimacy in "Lake Lake Geneva seen from Chexbres"; the atmosphere of "de Chexbres" gives its duration to "Lac Léman vu de Chexbres". "Lac Léman vu de Chexbres" remains a distinct stage of its journey.
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