Ferdinand Hodler
Ferdinand Hodler (March 14, – May 19, ) was one of the best-known Swiss painters of the nineteenth century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of symbolism he called "parallelism".
Hodler was born in Bern, the eldest of six children. His father, Jean Hodler, made a meager living as a carpenter; his mother, Marguerite (n&#;e Neukomm), was from a peasant family. By the time Hodler was eight years old, he had lost his father and two younger brothers to tuberculosis. His mother remarried, to a decorative painter named Gottlieb Sch&#;pach who had five children from a previous marriage. The birth of additional children brought the size of Hodler's family to thirteen.
The family's finances were poor, and the nine-year-old Hodler was put to work assisting his stepfather in painting signs and other commercial projects. After the death of his mother from tuberculosis in , Hodler was sent to Thun to apprentice with a local painter, Ferdinand Sommer. From Sommer, Hodler learned the craft of painting conventional Alpine landscapes, typically copied from prints, which he
three paintings below, which are the continuation of my previous post Ferdinand Hodler: Symbolism I, present Hodler&#;s curious philosophy, and ideas of life renewal and spring.
The Sacred Hour []
This is just one painting in a series produced by the artist where we can clearly see his philosophy of Parallelism. Hodler&#;s belief was that abstraction, symmetry and repetition are at the heart of the universe, and are key to understanding Nature&#;s work. In this artwork, he depicted four sitting women (probably nature goddesses) whose postures are clearly emphasised, while they mirror each other in gestures, hairdress and clothes. The women were likely modelled from those in Edward Burne-Jones&#;s The Hours [] that portrayed the goddesses of life renewal, hours and seasons. Although Hodler&#;s enigmatic set-up may unsettle the viewer, it conveys his stance that external actions represent inner feelings, and that harmony and unity are the buildings blocks of the natural order.
The Sacred Hour is housed at the Foundation for Art, Culture and History (SKKG) in Winterthur, Switzerland.
The Dream of the Shepherd []
In this painting, a shepherd is see
Ferdinand Hodler
Paintings, Drawings, Illustrations
Valley of Lauterbrunnen with Jungfrau
The Dream of the Shepherd
Landscape of the Swiss Alps
Woodcutter
Joyful Woman
Autumn Evening
Girl Arranging Flowers. Girl with Carnation
The Dents du Midi
Cows at Lakeshore
Lake Geneva with Jura. Landscape Rhythm of Forms
What the Flowers Say
Two Rows of Soldiers of the Procession for the Escalade
Stockhorn with Lake Thun
Sailing Boat
Portrait of Clara Pasche-Battie
The Disillusioned One
The little fisherman
Kastanienallee bei Biberist
Emotion
Interior of St Pierre Cathedral Geneva
Eiger, Monch and Jungfrau from Beatenberg
Walk along the Border of a Wood
Sheep at Sentier Des Saules
The Mower
The Sacred Hour
Lake Thun and Brienz with Freiburg Simmental Bull
Reading Priest
Portrait of Valentine Gode-Darel
Portrait of a Young Lady
Lake Geneva from Chexbres
The Angry Warrior
Portrait of Clara Pasche-Battie 2
Lake Champfer
Landscape of the Swiss Alps
Students of Jena
The Chosen One
Lake Geneva from Chexbres
Lake Geneva from Chexbres
Th
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(b Berne, 14 Mar. ; d Geneva, 19 May ). Swiss painter, born in Berne and active mainly in Geneva. He ranks alongside Böcklin as the outstanding Swiss artist of his time, but his early work was rather unimaginatively naturalistic, his landscapes amounting to ambitious colour postcards for tourists. However, in , with his brooding Night (Kunstmuseum, Berne), Hodler began a sudden change of style. This picture, depicting a black-shrouded, phantom-like presence amid a number of semi-naked sleeping figures, set the pattern for his most characteristic works—allegories featuring stately groups of flat, stylized figures composed into a rhythmic and repetitive pattern of lines, forms, and colours. Often the same basic figure is repeated throughout the picture with only slight variations.
Hodler called his method ‘Parallelism’; he used the same principles in scenes from Swiss history and landscapes. By the turn of the century he had become immensely popular throughout the German-speaking world. In the last decade of his life he returned more to landscape painting. As well as being a major figure of Symboli
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