Basel · Bern · Geneva · Engadine
Swiss painting 100 paintings from Holbein to Klee and Vallotton
Five centuries of painting where humanist portraits, Alpine visions, symbolist mythologies and modern languages compose a story much more diverse than the postcard image.
A story built between several languages
Swiss painting is neither limited to the Alps nor to a single school. It is formed in a territory of passages: the workshops of Basel look towards Germany and the former Netherlands, Geneva dialogues with Paris and London, Ticino and graubünden opens towards Italy. This discontinuous geography becomes a force. She explains why Holbein's incisive realism, Füssli's fantasy, Böcklin's symbolism and Klee's poetic abstraction can belong to the same story without getting confused.
However, the landscape plays a central role. In Diday and Calame, the romantic mountain becomes a theater of the sublime. Koller gives him the speed of roads and herds. Hodler simplifies the horizon into parallel rhythms; Segantini does vibrate the air by dividing the fingerboard; Giovanni and Augusto Giacometti convert Engadine and familiar objects into foci of color.
The figures tell the story of another Switzerland: humanists and merchants by Holbein, studious children by Anker, theatrical visions by Kauffmann and Füssli, silent characters by Vallotton. The route follows a flexible chronology, while highlighting the dialogues that span the centuries.
Three forces that cross the corpus
Precision as power
From Witz to Anker and Vallotton, sharpness is never just descriptive. It selects gestures, accentuates silences and gives objects psychological value.
The mountain as a laboratory
The Alps force painters to rethink scale, light and depth. The romantic sublime gradually gives way to rhythm, color and surface.
A modernity without a single center
Basel symbolism, Valais painting, the color Grisonne and the Bernese avant-gardes advance in distinct foci. Their plurality constitutes precisely the identity of the journey.
Chapter 01
Basel, Bern and the invention of a look
From Konrad Witz to Holbein and Stimmer, Nordic precision meets humanism, the Reformation and a new sense of real space.
Hans Holbein the Younger
The Ambassadors
In "The Ambassadors", Hans Holbein the Younger takes the stage as a point of support and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. Light not only illustrates the subject: it regulates its inner tension.
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Konrad Witz
The Miraculous Fishing
With "The Miraculous Fishing", Konrad Witz renews the scene and gives the sacred story a new physical presence, made of water, stone and alpine light. Scale relationships lead the eye from concrete detail to a broader vision.
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Hans Holbein the Younger
The Body of Christ dead in the grave
"The Body of Christ Dead in the Grave" shows how Hans Holbein the Younger starts from the scene and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. Color establishes depth as much as it gives the image its emotional climate.
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Hans Holbein the Younger
The Merchant Georg Gisze
Here, Hans Holbein the Younger organizes the scene with remarkable economy and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. The framing tightens the action and transforms precise observation into lasting experience.
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Hans Holbein the Younger
The Virgin and Child with the family of Mayor Meyer
In "The Virgin and Child with the Family of Mayor Meyer", Hans Holbein the Younger takes the figure as a point of support and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. Each interval counts: between the figures, the objects and the background the true story is constructed.
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Hans Holbein the Younger
Portrait of Erasmus of Rotterdam writing
With "Portrait of Erasmus of Rotterdam Writing", Hans Holbein the Younger renews the figure and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. The apparent clarity conceals a scholarly composition, made of balances and measured ruptures.
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Hans Holbein the Younger
A Lady with a Squirrel and a Starling (Anne Lovell?)
"A Lady with a Squirrel and a Starling (Anne Lovell?)" shows how Hans Holbein the Younger starts from the stage and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. The familiar motif gains one symbolic significance without losing its weight, texture or presence.
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Hans Holbein the Younger
Edward VI as a Child
Here, Hans Holbein the Younger organizes the scene with remarkable economy and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. The image remains silent, but its rhythm gives the gaze direction and time density.
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Hans Holbein the Younger
Portrait of Anne of Cleves
In "Portrait of Anne of Cleves", Hans Holbein the Younger takes the figure as a point of support and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. The painting holds together observation, memory and invention without ever reducing the subject to an emblem.
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Hans Holbein the Younger
Lais of Corinth
With "Laïs de Corinth", Hans Holbein the Younger renews the scene and unites the precision of the portrait, the density of materials and an acute intelligence of social rank. This tension between surface and depth explains the persistent modernity of the work.
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Konrad Witz
Saint Christopher
"Saint Christopher" shows how Konrad Witz starts from the stage and gives the sacred story a new physical presence, made of water, stone and alpine light. The painted material retains the immediate sensation while firmly ordering the whole.
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Konrad Witz
The Annunciation
Here, Konrad Witz organizes the scene with remarkable economy and gives the sacred story a new physical presence, made of water, stone and alpine light. The scene thus acquires a visual evidence which goes far beyond its time and its first context.
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Konrad Witz
The Queen of Sheba before King Solomon
In "The Queen of Sheba Before King Solomon", Konrad Witz takes the stage as a point of support and gives the sacred story a new physical presence, made of water, stone and alpine light. The light not only illustrates the subject: it regulates its inner tension.
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Konrad Witz
Synagogue
With "Synagogue", Konrad Witz renews the scene and gives the sacred story a new physical presence, made of water, stone and alpine light. Scale relationships lead the eye from concrete detail to a broader vision.
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Konrad Witz
Abraham and Melchizedek
"Abraham and Melchizedek" shows how Konrad Witz starts from the stage and gives the sacred story a new physical presence, made of water, stone and alpine light. Color establishes depth as much as it gives the image its emotional climate.
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Niklaus Manuel Deutsch
Saint Luke painting the Virgin
Here, Niklaus Manuel Deutsch organizes the figure with remarkable economy and conveys the energy of the Reformation and Bernese humanism into tense and theatrical images. The framing tightens the action and transforms precise observation into lasting experience.
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Niklaus Manuel Deutsch
The Judgment of Paris
In "The Judgment of Paris", Niklaus Manuel Deutsch takes the stage as a point of support and conveys the energy of the Reformation and Bernese humanism in tense and theatrical images. Every interval counts: between the figures, the objects and the background the true story is constructed.
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Niklaus Manuel Deutsch
Pyramus and Thisbe
With "Pyrame and Thisbe", Niklaus Manuel Deutsch renews the stage and conveys the energy of the Reformation and Bernese humanism in tense and theatrical images. The apparent clarity conceals a scholarly composition, made of balances and measured ruptures.
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Tobias Stimmer
Portrait of Jacob Schwytzer
"Portrait of Jacob Schwytzer" shows how Tobias Stimmer starts from the figure and transforms the resurgent effigy into a direct encounter, without sacrificing the detail of the costume. The familiar pattern gains symbolic significance without losing its weight, texture or presence.
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Tobias Stimmer
Portrait of Elsbeth Lochmann
Here, Tobias Stimmer organizes the figure with remarkable economy and transforms the resurgent effigy into a direct encounter, without sacrificing the detail of the costume. The image remains silent, but its rhythm gives the gaze direction and time density.
See reproduction →Chapter 02
The sublime, the theater and the Alps
Kauffmann and Füssli move history painting towards emotion, while Diday and Calame give the mountain a monumental dimension.
Angelica Kauffmann
Ariadne abandoned by Theseus
In "Ariadne Abandoned by Theseus", Angelica Kauffmann takes the stage as a point of support and composes a sensitive antiquity where heroism is measured by the hesitations of the heart. The painting holds together observation, memory and invention without ever reducing the subject to an emblem.
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Angelica Kauffmann
Telemachus and the Nymphs of Calypso
With "Telemachus and the Nymphs of Calypso", Angelica Kauffmann renews the scene and composes a sensitive antiquity where heroism is measured by the hesitations of the heart. This tension between surface and depth explains the persistent modernity of the work.
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Angelica Kauffmann
Venus persuading Helen to love Paris
"Venus persuading Helen to love Paris" shows how Angelica Kauffmann starts from the landscape and composes a sensitive antiquity where heroism is measured by the hesitations of the heart. The painted material retains the immediate sensation while firmly ordering the whole.
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Angelica Kauffmann
The Sadness of Telemachus
Here, Angelica Kauffmann organizes the scene with remarkable economy and composes a sensitive antiquity where heroism is measured by the hesitations of the heart. The scene thus acquires a visual evidence which goes far beyond its time and its first context.
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Angelica Kauffmann
Self-portrait
In "Self-portrait", Angelica Kauffmann takes the figure as a point of support and composes a sensitive antiquity where heroism is measured by the hesitations of the heart. Light not only illustrates the subject: it regulates its inner tension.
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Johann heinrich fussli
The Nightmare
With "The Nightmare", Johann Heinrich Füssli renews the stage and opens painting to dreams, night terrors and the powers of theater. Scale relationships lead the eye from concrete detail to a broader vision.
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Johann heinrich fussli
Lady Macbeth walking in her sleep, also said Lady Macbeth sleepwalking
"Lady Macbeth walking in her sleep, also known as Lady Macbeth sleepwalking" shows how Johann Heinrich Füssli leaves the stage and opens painting to dreams, night terrors and the powers of theater. Color establishes the depth as much as it gives the image its emotional climate.
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Johann heinrich fussli
Thor fighting the Midgard Serpent
Here, Johann Heinrich Füssli organizes the stage with remarkable economy and opens the painting to dreams, night terrors and the powers of theater. The framing tightens the action and transforms precise observation into a lasting experience.
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Johann heinrich fussli
The Nightmare Among the Witches of Lapland
In "The Nightmare Among the Witches of Lapland", Johann Heinrich Füssli takes the stage as a point of support and opens the painting to dreams, night terrors and the powers of theater. Every interval counts: between the figures, the objects and the background the true story is constructed.
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Jacques-Laurent Agasse
Zebra
With "Zèbre", Jacques-Laurent Agasse renews the animal presence and observes animals with an accuracy that retains their appearance, their weight and their temperament. The apparent clarity conceals a scholarly composition, made of balances and measured ruptures.
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Jacques-Laurent Agasse
Two leopards lying in the Exeter Change
"Two Leopards Lying in the Exeter Change" shows how Jacques-Laurent Agasse starts from the animal presence and observes the animals with an accuracy that maintains their appearance, weight and temperament. The familiar pattern wins symbolic significance without losing its weight, texture or presence.
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Jacques-Laurent Agasse
The last stop on the road to Portsmouth
Here, Jacques-Laurent Agasse organizes the scene with remarkable economy and observes the animals with an accuracy that retains their appearance, weight and temperament. The image remains silent, but its rhythm gives the gaze direction and time density.
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François Diday
Rosenlaui
In "Rosenlaui", François Diday takes the landscape as a point of support and depicts the Alps as an architecture of rocks, trees and waterfalls. The painting holds together observation, memory and invention without ever reducing the subject to an emblem.
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François Diday
The Handeck Aare
With "L'Aar à la Handeck", François Diday renews the landscape and depicts the Alps as an architecture of rocks, trees and waterfalls. This tension between surface and depth explains the persistent modernity of the work.
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François Diday
Lake Lucerne near Brunnen
"Lake Lucerne near Brunnen" shows how François Diday starts from the landscape and depicts the Alps as an architecture of rocks, trees and waterfalls. The painted material retains the immediate sensation while firmly ordering the whole.
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Alexander Calame
Lake Lucerne
Here, Alexandre Calame organizes the landscape with remarkable economy and orders the romantic mountain around contrasts of light and accidents of relief. The scene thus acquires a visual evidence which goes far beyond its time and its first context.
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Alexander Calame
Grimsel Road (canton of Bern)
In "Route du Grimsel (canton of Bern)", Alexandre Calame takes the stage as a point of support and orders the romantic mountain around the contrasts of light and the accidents of the relief. Light not only illustrates the subject: it regulates its inner tension.
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Alexander Calame
The Aare valley in Meiringen (Bernese Oberland)
With "The Aare valley in Meiringen (Bernese Oberland)", Alexandre Calame renews the landscape and orders the romantic mountain around contrasts of light and accidents of relief. Scale relationships lead the eye from concrete detail to a broader vision.
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Alexander Calame
Lake Thun
"Lake Thun" shows how Alexandre Calame starts from the landscape and orders the romantic mountain around the contrasts of light and the accidents of the relief. Color establishes depth as much as it gives the image its emotional climate.
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Charles Gleyre
Le Soir, also known as Lost Illusions
Here, Charles Gleyre organizes the scene with remarkable economy and deploys an elegiac history painting, suspended between ancient memory and modern disillusionment. The framing tightens the action and transforms precise observation into lasting experience.
See reproduction →Chapter 03
The nation, everyday life and symbol
Anker and Koller observe the rural world; Böcklin and Gleyre at the same time opened Swiss painting to dreams, myth and worry.
Alexander Calame
Broken tree at Kerket, near Meyringen (Bernese Oberland)
In "Broken Tree at Kerket, near Meyringen (Bernese Oberland)", Alexandre Calame takes the landscape as a point of support and orders the romantic mountain around the contrasts of light and the accidents of the relief. Every interval account: between the figures, the objects and the background the true story is constructed.
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Alexander Calame
Landscape
With "Landscape", Alexandre Calame renews the landscape and orders the romantic mountain around the contrasts of light and the accidents of the relief. The apparent clarity conceals a scholarly composition, made of balances and measured ruptures.
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Charles Gleyre
The Dance of the Bacchantes
"The Dance of the Bacchantes" shows how Charles Gleyre starts from the stage and deploys an elegiac history painting, suspended between ancient memory and modern disillusionment. The familiar motif gains symbolic significance without losing its weight, texture or presence.
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Charles Gleyre
The Roman Brigands
Here, Charles Gleyre organizes the scene with remarkable economy and deploys an elegiac history painting, suspended between ancient memory and modern disillusionment. The image remains silent, but its rhythm gives the gaze direction and time density.
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Arnold Boecklin
Island of the Dead
In "Island of the Dead", Arnold Böcklin takes the stage as a point of support and makes myth a visible world where nature, death and desire share the same atmosphere. The painting holds together observation, memory and invention without ever reducing the subject to an emblem.
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Arnold Boecklin
Self-portrait with Death playing the violin
With "Self-portrait with Death playing the violin", Arnold Böcklin renews the figure and makes the myth a visible world where nature, death and desire share the same atmosphere. This tension between surface and depth explains the persistent modernity of the work.
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Arnold Boecklin
In the game of Waves
"In the Game of Waves" shows how Arnold Böcklin starts from the stage and makes myth a visible world where nature, death and desire share the same atmosphere. The painted material retains the immediate sensation while firmly ordering the whole.
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Arnold Boecklin
The plague
Here, Arnold Böcklin organizes the scene with remarkable economy and makes the myth a visible world where nature, death and desire share the same atmosphere. The scene thus acquires a visual evidence which goes far beyond its time and its first context.
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Arnold Boecklin
Sacred grove (II)
In "Sacred Grove (II)", Arnold Böcklin takes the stage as a point of support and makes myth a visible world where nature, death and desire share the same atmosphere. Light not only illustrates the subject: it regulates its inner tension.
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Arnold Boecklin
Die Gefilde der Seligen
With "Die Gefilde der Seligen", Arnold Böcklin renews the scene and makes myth a visible world where nature, death and desire share the same atmosphere. Scale relationships lead the eye from concrete detail to a broader vision.
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Albert Anker
The School Exam
"The Exam at School" shows how Albert Anker starts from the stage and looks at village life with calm gravity, attentive to gestures of learning and transmission. Color establishes depth as much as it gives the image its emotional climate.
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Albert Anker
Kappel's Milk Soup
Here, Albert Anker organizes the stage with remarkable economy and looks at village life with calm gravity, attentive to gestures of learning and transmission. The framing tightens the action and transforms precise observation into a lasting experience.
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Albert Anker
The children's breakfast
In "The Children's Breakfast", Albert Anker takes the figure as a point of support and looks at village life with calm gravity, attentive to gestures of learning and transmission. Every interval counts: between the figures, the objects and the background the true story is constructed.
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Albert Anker
Young Girl knitting
With "Young Girl Knitting", Albert Anker renews the scene and looks at village life with calm gravity, attentive to gestures of learning and transmission. The apparent clarity conceals a scholarly composition, made of balances and measured ruptures.
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Albert Anker
The School Class
"The School Class" shows how Albert Anker starts from the stage and looks at village life with calm gravity, attentive to gestures of learning and transmission. The familiar pattern gains symbolic significance without losing its weight, texture or presence.
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Albert Anker
The Writing Lesson
Here, Albert Anker organizes the scene with remarkable economy and looks at village life with calm gravity, attentive to gestures of learning and transmission. The image remains silent, but its rhythm gives the gaze direction and time density.
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Rudolf Koller
The Gotthard Post Office
In "The Gotthard's Post Office", Rudolf Koller takes the landscape as a point of support and infuses roads and herds with an energy that makes the Swiss landscape vibrate. The painting holds together observation, memory and invention without ever reducing the subject to an emblem.
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Rudolf Koller
Cow in a cabbage patch
With "Cow in a Cabbage Square", Rudolf Koller renews the animal presence and infuses roads and herds with an energy that makes the Swiss landscape vibrate. This tension between surface and depth explains the persistent modernity of the work.
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Rudolf Koller
Storm-scared horses
"Horses Frightened by the Storm" shows how Rudolf Koller starts from the stage and infuses the roads and herds with an energy that makes the Swiss landscape vibrate. The painted material retains the immediate sensation while firmly ordering the whole.
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Rudolf Koller
Cows by the lake
Here, Rudolf Koller organizes the landscape with remarkable economy and infuses the roads and herds with an energy that makes the Swiss landscape vibrate. The scene thus acquires a visual evidence which goes far beyond its time and its first context.
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From parallelism to modern color
Hodler, Segantini and the painters of Graubünden and Valais transform the landscape and the figure into colorful rhythms, announcing the 20th century.
Ferdinand Hodler
The night
In "La Nuit", Ferdinand Hodler takes the stage as a point of support and reduces forms and gestures to large parallel rhythms, capable of carrying a collective emotion. Light not only illustrates the subject: it regulates its inner tension.
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Ferdinand Hodler
The gaze into infinity
With "The Look into Infinity", Ferdinand Hodler renews the scene and reduces forms and gestures to large parallel rhythms, capable of carrying a collective emotion. Scale relationships lead the eye from concrete detail to a broader vision.
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Ferdinand Hodler
The Sacred Hour
"The Sacred Hour" shows how Ferdinand Hodler starts from the stage and reduces shapes and gestures to large parallel rhythms, capable of carrying a collective emotion. Color establishes depth as much as it gives the image its emotional climate.
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Ferdinand Hodler
The lumberjack
Here, Ferdinand Hodler organizes the stage with remarkable economy and reduces forms and gestures to large parallel rhythms, capable of carrying a collective emotion. The framing tightens the action and transforms precise observation into a lasting experience.
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Ferdinand Hodler
The Reaper
In "The Reaper", Ferdinand Hodler takes the stage as a point of support and reduces forms and gestures to large parallel rhythms, capable of carrying a collective emotion. Every interval counts: between the figures, the objects and the background the true story is constructed.
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Ferdinand Hodler
Eiger, Monch und Jungfrau über dem Nebelmeer
With "Eiger, Monch und Jungfrau über dem Nebelmeer", Ferdinand Hodler renews the scene and reduces forms and gestures to large parallel rhythms, capable of carrying a collective emotion. The apparent clarity conceals a scholarly composition, made of balances and measured ruptures.
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Ferdinand Hodler
Lake Geneva seen from Chexbres
"Lake Geneva seen from Chexbres" shows how Ferdinand Hodler starts from the landscape and reduces shapes and gestures to large parallel rhythms, capable of carrying a collective emotion. The familiar motif gains symbolic significance without losing its weight, texture or presence.
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Ferdinand Hodler
Lake Geneva and Mont-Blanc range at dawn
Here, Ferdinand Hodler organizes the landscape with remarkable economy and reduces shapes and gestures to large parallel rhythms, capable of carrying a collective emotion. The image remains silent, but its rhythm gives the gaze direction and time density.
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Ferdinand Hodler
The tired of life
In "The Tired of Life", Ferdinand Hodler takes the stage as a point of support and reduces forms and gestures to large parallel rhythms, capable of carrying a collective emotion. The painting holds together observation, memory and invention without ever reducing the subject to an emblem.
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Giovanni Segantini
Noon in the Alps
With "Midi dans les Alpes", Giovanni Segantini renews the landscape and makes the high mountains shine with a divided touch where natural light and symbol come together. This tension between surface and depth explains the persistent modernity of the work.
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Giovanni Segantini
Hail Mary at the crossing
"Ave Maria on the crossing" shows how Giovanni Segantini starts from the stage and makes the high mountains shine with a divided touch where natural light and symbol come together. The painted material retains the immediate sensation while firmly ordering the whole.
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Giovanni Segantini
The two mothers
Here, Giovanni Segantini organizes the figure with remarkable economy and makes the high mountains shine with a divided touch where natural light and symbol come together. The scene thus acquires a visual evidence which goes far beyond its time and its first context.
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Giovanni Segantini
Bad Mothers
In "The Bad Mothers", Giovanni Segantini takes the figure as a point of support and makes the high mountains shine with a divided touch where natural light and symbol come together. Light not only illustrates the subject: it regulates its inner tension.
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Giovanni Segantini
Life
With "La Vie", Giovanni Segantini renews the scene and makes the high mountains shine with a divided touch where natural light and symbol come together. Scale relationships lead the eye from concrete detail to a broader vision.
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Augusto Giacometti
Still life with buttercups
"Still Life with Buttercups" shows how Augusto Giacometti starts from the stage and pushes color towards an autonomous intensity, halfway between stained glass, mosaic and abstraction. Color establishes depth as much as it gives the image its emotional climate.
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Giovanni Giacometti
View of Capolago
Here, Giovanni Giacometti organizes the scene with remarkable economy and translates the Engadine into colorful chords that retain the warmth of the interiors like the shine of snow. The framing tightens the action and transforms precise observation into a lasting experience.
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Giovanni Giacometti
The lamp
In "The Lamp", Giovanni Giacometti takes the stage as a point of support and translates the Engadine into colorful chords which retain the warmth of the interiors like the brilliance of snow. Every interval counts: between the figures, the objects and the background the true story is constructed.
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Giovanni Giacometti
Trees in the snow
With "Trees in the Snow", Giovanni Giacometti renews the landscape and translates the Engadine into colorful accords that retain the warmth of interiors like the shine of snow. The apparent clarity conceals a scholarly composition, made of balances and measured ruptures.
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Ernest Biéler
The Dead Leaf Collector
"The Collector of Dead Leaves" shows how Ernest Biéler starts from the stage and combines linear precision with the silent monumentality of Valais figures. The familiar pattern gains symbolic significance without losing its weight, texture or presence.
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Ernest Biéler
Straw Braiders
Here, Ernest Biéler organizes the scene with remarkable economy and combines linear precision with the silent monumentality of Valais figures. The image remains silent, but its rhythm gives the gaze direction and time density.
See reproduction →Chapter 05
Vallotton and Klee, two paths to the modern
One contrasts the visible with flat areas and silent framing; the other constructs a universe of signs, colors and interior movements.
Felix Vallotton
The Balloon
In "Le Ballon", Félix Vallotton takes the stage as a point of support and constructs the space with clear flat areas, abrupt framing and retained psychological tensions. The painting holds together observation, memory and invention without ever reducing the subject to an emblem.
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Felix Vallotton
The lie
With "Le Mensonge", Félix Vallotton renews the stage and constructs the space through clear flat areas, abrupt framing and restrained psychological tensions. This tension between surface and depth explains the persistent modernity of the work.
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Felix Vallotton
The White and the Black
"La Blanche et la Noire" shows how Félix Vallotton starts from the stage and constructs the space with clear flat areas, abrupt framing and restrained psychological tensions. The painted material retains the immediate sensation while firmly ordering the whole.
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Felix Vallotton
The visit
Here, Félix Vallotton organizes the stage with remarkable economy and constructs the space with clear flat areas, abrupt framing and restrained psychological tensions. The scene thus acquires a visual evidence which goes far beyond its time and its first context.
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Felix Vallotton
Five hours
In "Five Hours", Félix Vallotton takes the stage as a point of support and constructs the space with clear flat areas, abrupt framing and restrained psychological tensions. Light not only illustrates the subject: it regulates its inner tension.
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Felix Vallotton
Moonlight
With "Clair de lune", Félix Vallotton renews the scene and constructs the space through clear flat areas, abrupt framing and restrained psychological tensions. Scale relationships lead the eye from concrete detail to a broader vision.
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Felix Vallotton
Sunset, orange sky
"Sunset, orange sky" shows how Félix Vallotton starts from the stage and constructs the space with clear flat areas, abrupt framing and restrained psychological tensions. Color establishes depth as much as it gives the image its emotional climate.
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Felix Vallotton
Interior with woman in red back
Here, Félix Vallotton organizes the figure with remarkable economy and constructs the space through clear flat areas, abrupt framing and restrained psychological tensions. Framing tightens the action and transforms precise observation into lasting experience.
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Felix Vallotton
Rock bather
In "Bather at the Rock", Félix Vallotton takes the stage as a point of support and constructs the space with clear flat areas, abrupt framing and retained psychological tensions. Every interval counts: between the figures, the objects and the background the true story is constructed.
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Felix Vallotton
Self-portrait (Félix Vallotton, 1887)
With "Self-portrait (Félix Vallotton, 1887)", Félix Vallotton renews the figure and constructs the space through clear flat areas, abrupt framing and restrained psychological tensions. The apparent clarity conceals a scholarly composition, made of balances and measured ruptures.
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Paul Klee
Ad Parnassum
"Ad Parnassum" shows how Paul Klee starts from the stage and invents a grammar of signs where color, music and architecture become the same movement. The familiar pattern gains symbolic significance without losing its weight, texture or presence.
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Paul Klee
Senecio
Here, Paul Klee organizes the scene with remarkable economy and invents a grammar of signs where color, music and architecture become the same movement. The image remains silent, but its rhythm gives the gaze direction and time density.
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Paul Klee
Fish Magic
In "Fish Magic", Paul Klee takes the stage as a point of support and invents a grammar of signs where color, music and architecture become the same movement. The painting holds together observation, memory and invention without ever reducing the subject to an emblem.
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Paul Klee
Around the Fish
With "Around the Fish", Paul Klee renews the scene and invents a grammar of signs where color, music and architecture become the same movement. This tension between surface and depth explains the persistent modernity of the work.
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Paul Klee
Castle and Sun
"Castle and Sun" shows how Paul Klee starts from the stage and invents a grammar of signs where color, music and architecture become the same movement. The painted material retains the immediate sensation while firmly ordering the whole.
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Paul Klee
Cat and the Bird
Here, Paul Klee organizes the animal presence with remarkable economy and invents a grammar of signs where color, music and architecture become the same movement. The scene thus acquires a visual evidence which goes far beyond its time and its first context.
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Paul Klee
Chosen Site
In "Chosen Site", Paul Klee takes the stage as a point of support and invents a grammar of signs where color, music and architecture become the same movement. Light not only illustrates the subject: it regulates its inner tension.
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Paul Klee
Actor's Mask
With "Actor's Mask", Paul Klee renews the scene and invents a grammar of signs where color, music and architecture become the same movement. Scale relationships lead the eye from concrete detail to a broader vision.
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Paul Klee
Camel (in Rhythmic Landscape with Trees)
"Camel (in Rhythmic Landscape with Trees)" shows how Paul Klee starts from the stage and invents a grammar of signs where color, music and architecture become the same movement. Color establishes depth as much as it gives the image its emotional climate.
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Paul Klee
Abstraction with Reference to a Flowering Tree
Here, Paul Klee organizes the scene with remarkable economy and invents a grammar of signs where color, music and architecture become the same movement. The framing tightens the action and transforms precise observation into a lasting experience.
See reproduction →Understanding Swiss painting
Why start with Holbein when Konrad Witz is older?
The tour first places the most immediately recognized works, then unfolds the chronology within the chapters. Witz well founded one of the first great moments of Basel painting, while Holbein gave it a European scope.
Why include Angelica Kauffmann and Giovanni Segantini?
Swiss painting was built through circulation, naturalization and workplaces. Kauffmann was born in Chur and Segantini developed the decisive phase of his work in the Engadine. Their presence sheds light on this cross-border history.
What role do the Alps play in this story?
They move from the topographical setting to the monumental subject, then to the laboratory of light and rhythm. Diday, Calame, Hodler, Segantini and Giovanni Giacometti offer radically different visions.
What is Hodler parallelism?
Hodler repeats and orders the shapes - bodies, trees, mountains, water lines - in order to make visible a deeper unity. Symmetry and rhythm then carry as much meaning as the subject.
How did Vallotton and Klee renew the painting?
Vallotton condenses the figures into flat areas and almost cinematic framing. Klee treats line, color and sign as elements of a score. Both move the painting towards a mental construction of the visible.
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