The Life and Work of Ferdinand Hodler (1853- 1918)

Total Page:16

File Type:pdf, Size:1020Kb

The Life and Work of Ferdinand Hodler (1853- 1918) The life and work of Ferdinand Hodler (1853- 1918) Autor(en): [s.n.] Objekttyp: Article Zeitschrift: The Swiss observer : the journal of the Federation of Swiss Societies in the UK Band (Jahr): - (1973) Heft 1660 PDF erstellt am: 27.09.2021 Persistenter Link: http://doi.org/10.5169/seals-689004 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Che Swiss Obscrocr Founded in 1919 by Paul F. Boehringer The Official Organ of the Swiss Colony in Great Britain Vol.59 No. 1660 : FRIDAY, 11th MAY, 1973 THE LIFE AND WORKOF ^ FEFÖNAND HODLER (1853-1918) Hodler a few more. For both, one reason may have been the fact that they were their own cheapest model. What seems more important however, is the painter's constant urge to confront himself, to examine himself afresh, even to surprise himself, in order to discover what lies beneath the surface. For Hodler, especially in his youth, portrayed himself in the most varied dress and moods — laughing, grinning, angry, at work, solemn, self-assured and self- "Der Holzfäller" proud, satisfied, and at the end filled with fore- Rem Arts Mwsewm boding of death. Hodler also has something in com- mon with Munch, who was ten years younger. The link here lies less in certain personality traits than in the bitter experiences of both painters in their youth. Munch's early work is marked by the experience of death. He lost his mother when he was five, his sister in 1877, his father in 1889. The Damocles sword of illness hovered over Munch as a Ferdinand Hodler was born in the meetings in Langenthal of a religious sect constant threat. same year as the Dutch painter van Gogh. ("Stundeler"). These encounters are He was ten years older than the Norwegian reflected in paintings such as "Prayer Edvard Munch. All three painters were meeting in the Canton of Bern" THE SPIRIT OF DEATH uncompromising individualists. They may (Kunstmuseum Bern) and "At prayer". Hodler lost both parents and all five have been influential during their lifetime He also painted an increasing number of sisters and brothers from tuberculosis but none of them founded a school or portraits of old men and women — con- between 1859 and 1885. He and joined his contemporaries in any form of templative old men, artisans and vintagers. Albertine, the daughter of his sister Marie movement like the previous generation of In the early 1890s Hodler went to Paris Elise, were the only survivors in the Impressionists or the later Nabis ana where he came under the influence of the family. His own son, Hector, was to die Fauves. Although all three had very Rosicrucians who invited him to exhibit of the same disease in 1920. So Hodler's different personalities and their works are in the Salon de la Rose-Croix. Hodler youth was overshadowed by death to an unmistakably their own, we can establish accepted, showed "The disappointed unusual degree and as a result he always certain affinities, partly because they were souls" in 1892 and became a member of felt threatened. This influenced his contemporaries but more through the Rosicrucian artist's group, the Rose- painting. It emerges very clearly in his common experiences and characteristics. Croix Esthétique. large figurative compositions of the Like van Gogh, Hodler was strongly In their early works, both Hodler 1890s and is most striking in "Night", attracted to religion. Van Gogh started and van Gogh use a similar palette. dated 1890. "Night" shows a sleeping work with an art dealer, then threw him- Brown in all its gradations dominates, and group and a powerful man — the thirty- self into Bible studies and worked as a most of the figurative work is marked by seven year-old painter himself — shocked missionary in the Borinage until he was a heavy earthy tone. Paris, and especially from sleep by a nightmare or the spirit of dismissed for taking the Gospels too the Mediterranean, opened van Gogh's death. literally. At the age of twenty-seven he eyes to the effect of pure colour. Hodler's Hodler and Munch can also be com- became aware of his vocation as a painter. palette did not lighten until the 1890s pared in that the works of both can be He saw his art as the continuation of his and only achieved its full luminosity after clearly divided into two parts: the early previous activities. the turn of the century. work, with some of the characteristics When he was about twenty-seven, Another similarity between Hodler already mentioned, contrasts with the Hodler went through a religious crisis. and van Gogh is the important place self- later work marked by stronger colours and He too wished to become a pastor. In portraits take up in their work. Van Gogh greater luminosity. The victory over the the summer of 1880 he attended the painted at least thirty self-portraits, fear of death enabled both painters to Hodler was receiving commissions Published Twice Monthly at for portraits as early as 1890. Naturally CDcSioiss Observer 63/67 TABERNACLE STREET the most direct portraits are those he LONDON E.C.2 his initiative. Between Tel: 01-253 2321 painted on own 1911 and 1913 Hodler painted at least HON. PRESIDENT: Robert J. Keller Telegrams: Paperwyse London HON. VICE-PRESIDENT: four portraits of his friend the writer Gottfried Keller PREPAID SUBSCRIPTION RATES Mathias Morhardt who also encouraged (POST FREE) EDITOR: Pierre-Michel Béguin Puvis de Chavannes, Rodin and others. UNITED KINGDOM £2.40 Between 1912 and 1915 Hodler painted 24 issues Madame Ac/râo/y Counc/7: 12 issues £1.25 a number of portraits of F. Burri (Chairman) 6 issues £0.65 Valentine Darel, whose suffering and death Dr. C. Jagmetti (Vice-Chairman) SWITZERLAND and elsewhere he recorded stage by stage, almost as in a O. F. (Hon. Sec.) Boehringer, J.P., 12 issues F rs. 13—or £1.30 his visits to the J. R. M. Suess, diary, during frequent Eusebio, A. Kunz, 24 issues Frs. 25—or £2.50 B. Simon, B. Feller, Mrs. M. Meier Lausanne clinic. The depth of this Swiss subscriptions may be paid into experience led to less stylized com- Editor's telephone: 01-602 1378 Postcheck Konto Basle 40—5718 positions and an increasing freedom and directness of execution which also in- fluenced his landscape painting of the turn their attention to more active life. popular figures of all kinds. Hodler por- same period. In Munch's work this is represented by trayed one world, which we can describe his workmen and teams of horses, in that as the emotive, feminine one in the large REGAL TRINITY OF THE EIGER, of Hodler by such works as "The wood- figurative compositions he invented him- MONCH AND JUNGFRAU cutter" or "The rising of the students of self and developed until the end of his After the turn of the century land- Jena". But this more masculine spirit also life. The other world is that of the active, scapes became of major importance found pictorial expression in their por- masculine, forceful historical paintings. beside his large-scale compositions. traits and landscapes. Hodler did not paint these national sub- Hodler's extensive preoccupation with jects and scenes of war on his initiative. murals and their technique had brought HODLER'S ALLEGORICAL STYLE They were entries for competitions or about a fundamental change in his style. direct commissions. He forces the even further into Before the First World War Hodler's spectator Hodler's interpretation of national the distance this view from afar no figurative work was most admired. These now; history derived from the sense of tradition longer requires clearly delineated forms paintings obviously suited the general and the cult of a heroic past newly or clearly demarcated and separated mood of euphoria that was blind to the fostered by the historicism of the nine- colour areas. catastrophe to come. After the familiar teenth century. Yet it must be remem- In his landscapes Hodler tried in world of yesterday had collapsed, Hodler's bered that the first great competition another to the same themes allegories necessarily lost credit too. But way express works referred in fact to military defeats as in his large figurative historical and the true for their short life was reason of the old Swiss Confederation: the allegorical works: unity and uniformity. above all the fact that cannot allegories "Engagement at Fraubrunnen" and "The But whereas his chief difficulty in the be created of by an individual, out nothing Engagement at Neuenegg" (1798) were figurative works was the composition, and who stood the moreover one on intended for the Town Hall at Bern and this problem disappeared in landscape borders of The is society.
Recommended publications
  • Maler Der Frühen Moderne 8. September 2017 Bis 28. Januar 2018
    FERDINAND HODLER Maler der frhen Moderne 8. September 2017 bis 28. Januar 2018 Medienkonferenz: Donnerstag, 7. September 2017, 11 Uhr Inhalt 1. Allgemeine Informationen Seite 2 2. Informationen zur Ausstellung Seite 4 3. Biografie Ferdinand Hodler Seite 6 4. Wandtexte Seite 10 5. Publikation Seite 15 6. Rahmenprogramm zur Ausstellung (Auswahl) Seite 16 7. Laufende und kommende Ausstellungen Seite 23 Leiter Unternehmenskommunikation / Pressesprecher Sven Bergmann T +49 228 9171–204 F +49 228 9171–211 [email protected] Allgemeine Informationen Dauer 8. September 2017 bis 28. Januar 2018 Intendant Rein Wolfs Kaufmnnischer Geschftsfhrer Dr. Bernhard Spies Kuratorin Dr. Monika Brunner Ausstellungskuratorin Dr. Angelica Francke Leiter Unternehmenskommunikation / Sven Bergmann Pressesprecher Publikation / Presseexemplar 35 € / 17 € ffnungszeiten Dienstag und Mittwoch: 10 bis 21 Uhr Donnerstag bis Sonntag: 10 bis 19 Uhr Feiertags: 10 bis 19 Uhr Freitags fr angemeldete Gruppen und Schulklassen ab 9 Uhr geffnet Montags geschlossen Eintritt regulr / ermigt / Familienkarte 10 € / 6,50 € / 16 € Happy-Hour-Ticket 7 € fr alle Ausstellungen Dienstag und Mittwoch: 19 bis 21 Uhr Donnerstag bis Sonntag: 17 bis 19 Uhr (nur für Individualbesucher) ffentliche Turnusfhrungen Mittwochs: 18 Uhr Sonn- und feiertags: 14 Uhr 3 € / ermigt 1,50 €, zzgl. Eintritt Kinderfhrungen Sonn- und feiertags, 14 Uhr Teilnahme frei mit Eintrittskarte Audioguide 4 € / ermßigt 3 € Deutsch und Englisch Audiodeskription fr Blinde: 2 € Mediaguide in Gebrdensprache: 2 € Knstlerische Konzeption und Produktion des Audioguides durch Linon Verkehrsverbindungen U-Bahn-Linien 16, 63, 66 und Bus- Linien 610, 611 und 630 bis Heussallee / Museumsmeile Parkmglichkeiten Parkhaus Emil-Nolde-Strae Navigation: Emil-Nolde-Strae 11, 53113 Bonn Presseinformation (dt. / engl.) www.bundeskunsthalle.de/presse Informationen zum Programm T +49 228 9171–243 und Anmeldung zu F +49 228 9171–244 Gruppenfhrungen [email protected] Allgemeine Informationen (dt.
    [Show full text]
  • 250 Years Later: Swiss Art Takes Center Stage on the Day Christie’S Turns 250 5 December 2016
    PRESS RELEASE | ZURICH FOR IMMEDIATE RELEASE | 8 NOVEMBER 2016 250 YEARS LATER: SWISS ART TAKES CENTER STAGE ON THE DAY CHRISTIE’S TURNS 250 5 DECEMBER 2016 Zurich – Christie’s Zurich has the privilege to be one of the company’s two salerooms to stage an auction on the actual day that Christie’s turns 250. On 5 December 1766 James Christie, the founder of today’s world leading art business, held his first auction in London, offering an array of objects – from 4 irons to 4 Indian glass panels. Within a couple of months James Christie revolutionised the auction business by staging the first ever stand-alone painting auction on 20 March 1767. This tradition will continue on 5 December 2016, when Christie’s will present 80 works of Swiss Art – a category which has held stand-alone auctions for 25 years in Zurich. After setting a new world auction record for Le Corbusier (1887-1965) when selling the sculpture La Femme, for over CHF 3 million in Zurich two years ago, Hans-Peter Keller and his Swiss Art team are delighted to present Le Corbusier’s Ozon, Opus I, realized in 1947. Ozon, was the small village in the French Pyrenees, Le Corbusier and his wife moved to, when the Germans marched into Paris in 1940. Here, he continued to develop the form and lines of the female body and integrated the findings into his work – not only in his sculptures but also into his drawings, paintings and his architecture projects. Opus I is a clear reference to the organ Le Corbusier was most fascinated by, the human ear, which developed its own dynamism throughout the artist’s oeuvre (estimate: CHF 400,000- 600,000).
    [Show full text]
  • GÜNTER KONRAD Visual Artist Contents
    GÜNTER KONRAD visual artist contents CURRICULUM VITAE 4 milestones FRAGMENTS GET A NEW CODE 7 artist statement EDITIONS 8 collector‘s edition market edition commissioned artwork GENERAL CATALOG 14 covert and discovered history 01 - 197 2011 - 2017 All content and pictures by © Günter Konrad 2017. Except photographs page 5 by Arne Müseler, 80,81 by Jacob Pritchard. All art historical pictures are under public domain. 2 3 curriculum vitae BORN: 1976 in Leoben, Austria EDUCATION: 2001 - 2005 Multi Media Art, FH Salzburg DEGREE: Magister (FH) for artistic and creative professions CURRENT: Lives and works in Salzburg as a freelance artist milestones 1999 First exhibition in Leoben (Schwammerlturm) 2001 Experiments with décollages and spray paintings 2002 Cut-outs and rip-it-ups (Décollage) of billboards 2005 Photographic documentation of décollages 2006 Overpaintings of décollages 2007 Photographic documentation of urban fragments 2008 Décollage on furniture and lighting 2009 Photographic documentation of tags and urban inscriptions 2010 Combining décollages and art historical paintings 2011 First exhibition "covert and discovert history" in Graz (exhibition hall) 2012 And ongoing exhibitions and pop-ups in Vienna, Munich, Stuttgart, | Pörtschach, Wels, Mondsee, Leoben, Augsburg, Nürnberg, 2015 Purchase collection Spallart 2016 And ongoing commissioned artworks in Graz, Munich, New York City, Salzburg, Serfaus, Singapore, Vienna, Zirl 2017 Stuttgart, Innsbruck, Linz, Vienna, Klagenfurt, Graz, Salzburg commissioned artworks in Berlin, Vienna, Tyrol, Obertauern, Wels 2018 Augsburg, Friedrichshafen, Innsbruck, Linz, Vienna, Klagenfurt, Graz, Salzburg, Obertauern, commissioned artworks in Linz, Graz, Vienna, Tyrol, OTHERS: Exhibition at MAK Vienna Digital stage design, Schauspielhaus Salzburg Videoscreenings in Leipzig, Vienna, Salzburg, Graz, Cologne, Feldkirch Interactive Theater Performances, Vienna (Brut) and Salzburg (Schauspielhaus), organizer of Punk/Garage/Wave concerts..
    [Show full text]
  • PROGRAMME English the MAH CELEBRATES FERDINAND HODLER
    PROGRAMME English THE MAH CELEBRATES FERDINAND HODLER 1853 : Born on 14 March in Bern The year 2018 marks the 100th anniversary of the death 1871: Arrives in Geneva, trained only as a vedutisto, or landscape painter of the painter Ferdinand Hodler, which occurred on 19 1872 : Meets Barthélemy Menn, his teacher at the May 1918 in his apartment on the Quai du Mont-Blanc School of Horology and Drawing in Geneva. The Museum of Art and History of Geneva, 1874 onwards : regularly participates in Swiss and international exhibitions and from 1875 wins which possesses around 150 of his paintings, a sculpture, a succession of prizes for his landscapes and historical paintings. Joins artistic and literary 800 drawings, notebooks and prints, as well as furniture Symbolist circles. that once belonged to the artist, are paying tribute to this 1889 : First purchase by the City of Geneva of a version of Miller, His Son and Donkey (1888) key figure in their collections, whose importance in the 1891: The display of The Night (1889-1890) history of modern art is constantly being demonstrated in is banned for reasons of obscenity by the Administrative Council, at the request of the mayor Switzerland and around the world. T. Turrettini. The painting was to enjoy great success when exhibited a few months later in Paris. 1897: Introduces the principles of parallelism during a lecture given in Fribourg This programme enables visitors to discover numerous 1904 : Guest of honour at the 19th Vienna Secession masterpieces by the painter, as well as unknown aspects 1917: Retrospective at the Kunsthaus in Zurich of his work and life, together with the historical and 1918 : Receives the title of Honorary Citizen of the artistic context in which he lived.
    [Show full text]
  • Press Kit Lausanne, 15
    Page 1 of 9 Press kit Lausanne, 15. October 2020 Giovanni Giacometti. Watercolors (16.10.2020 — 17.1.2021) Giovanni Giacometti Watercolors (16.10.2020 — 17.1.2021) Contents 1. Press release 2. Media images 3. Artist’s biography 4. Questions for the exhibition curators 5. Public engagement – Public outreach services 6. Museum services: Book- and Giftshop and Le Nabi Café-restaurant 7. MCBA partners and sponsors Contact Florence Dizdari Press coordinator 079 232 40 06 [email protected] Page 2 of 9 Press kit Lausanne, 15. October 2020 Giovanni Giacometti. Watercolors (16.10.2020 — 17.1.2021) 1. Press release MCBA the Musée cantonal des Beaux-Arts of Lausanne conserves many oil paintings and drawings by Giovanni Giacometti, a major artist from the turn of the 20th century and a faithful friend of one of the institution’s great donors, the Lausanne doctor Henri-Auguste Widmer. By putting on display an exceptional group of watercolors, all of them privately owned and almost all unknown outside their home, MCBA is inviting us to discover a lesser known side of Giovanni Giacometti’s remarkable body of work. Giovanni Giacometti (Stampa, 1868 – Glion, 1933) practiced watercolor throughout his life. As with his oil paintings, he found most of his subjects in the landscapes of his native region, Val Bregaglia and Engadin in the Canton of Graubünden. Still another source of inspiration were the members of his family going about their daily activities, as were local women and men busy working in the fields or fishing. The artist turned to watercolor for commissioned works as well.
    [Show full text]
  • 2015 Exhibitions of XIX ART
    2015 EXHIBItiONS OF XIX ART US EXHIBITIONS ALABAMA Montgomery Museum of Fine Art The Grand Tour: Prints from Rome, Florence, Venice, Paris, and London Through November 23, 2014 Into the Light: American Works on Paper of the Nineteenth and Twentieth Centuries from the Montgomery Museum of Fine Arts • Through January 04, 2015 CALIFORNIA Los Angeles. The Getty Center J. M. W. Turner: Painting Set Free • February 24–May 24, 2015 Los Angeles. The Huntington Library, Art Collections and Botanical Gardens Henry Fuseli’s The Three Witches • Through March 30, 2015 Highlights of American Drawings and Watercolors from The Huntington’s Art Collections Through Jan. 5, 2015 Samuel F.B. Morse’s Gallery of the Louvre and the Art of Invention Jan. 24-May 4, 2015 Palm Springs Art Museum in Palm Desert A Grand Adventure: American Art of the West Through January 4, 2015. Pasadena. Norton Simon Museum Manet's The Railway on Loan from the National Gallery of Art, Washington December 05, 2014 - March 02, 2015 Sacramento. Crocker Art Museum Toulouse-Lautrec and La Vie Moderne: Paris 1880–1910 February 1 – April 26, 2015 Santa Barbara Museum of Art Daumier Reveals All: Inside the Artist’s Studio Opens September 14, 2014 Stanford. Cantor Arts Center, Stanford University Daumier on Art and the Theatre Through March 16, 2015 Shop, Gallery, Studio: The Art World in the 17th and 18th Centuries Through March 16, 2015 CONNECTICUT Fairfield. The Bellarmine Museum of Art Gari Melchers: An American Impressionist at Home and Abroad March 5 - May 22, 2015 New Haven. Yale Center for British Art Sculpture Victorious: Art in an Age of Invention, 1837–1901 Through November 30, 2014 Picture Talking: James Northcote and the Fables Through December 14, 2014 Figures of Empire: Slavery and Portraiture in Eighteenth-Century Atlantic Britain Through December 14, 2014 DELAWARE Delaware Art Museum Oscar Wilde’s Salomé: Illustrating Death and Desire • February 7, 2015 - May 10, 2015 FLORIDA Gainesville.
    [Show full text]
  • Early Modern Artist 8 September 2017 to 28 January 2018
    FERDINAND HODLER Early Modern Artist 8 September 2017 to 28 January 2018 Media Conference: 7 September 2017, 11 a.m. Content 1. Exhibition Dates Page 2 2. Information on the Exhibition Page 4 3. Biography Ferdinand Hodler Page 6 4. Wall quotations Page 10 5. Publication Page 15 6. Current and Upcoming Exhibitions Page 16 Head of Corporate Communications / Press Officer Sven Bergmann T +49 228 9171–204 F +49 228 9171–211 [email protected] Exhibition Dates Exhibition 8 September 2017 to 28 January 2018 Director Rein Wolfs Managing Director Dr. Bernhard Spies Curator Dr. Monika Brunner Exhibition Curator Dr. Angelica Francke Head of Corporate Communications / Sven Bergmann Press Officer Catalogue / Press Copy € 35 / € 17 Opening Hours Tuesday and Wednesday: 10 a.m. to 9 p.m. Thursday to Sunday: 10 a.m. to 7 p.m. Public Holidays: 10 a.m. to 7 p.m. Closed on Mondays Admission standard / reduced / family ticket € 10 / € 6.50 / € 16 Happy Hour-Ticket € 7 Tuesday and Wednesday: 7 to 9 p.m. Thursday to Sunday: 5 to 7 p.m. (for individuals only) Guided Group Tours information T +49 228 9171–243 and registration F +49 228 9171–244 [email protected] Public Transport Underground lines 16, 63, 66 and bus lines 610, 611 and 630 to Heussallee / Museumsmeile. Parking There is a car and coach park on Emil- Nolde-Strae behind the Bundeskunsthalle. Navigation: Emil-Nolde-Strae 11, 53113 Bonn Press Information (German / English) www.bundeskunsthalle.de For press files follow ‘press’. General Information T +49 228 9171–200 (German / English) www.bundeskunsthalle.de An exhibition of the Bundeskunsthalle in cooperation with Kunstmuseum Bern Supported by Media Partner Supported by Cultural Partner Information on the Exhibition Ferdinand Hodler (1853-1918) is one of the most successful Swiss artists of the late 19th and early 20th century and was perceived as one of the most important painters of modernism by his contemporaries.
    [Show full text]
  • Visitors Guide EN
    Visitors guide EN The Collection The collection To see here what cannot be seen elsewhere! 5 This is the guiding spirit behind this hanging 8 6 10 7 Access of the MCBA’s collection. Since 1816, acquisitions, from level 1 11 9 gifts, bequests and deposits have constantly 12 enriched this collection. It allows visitors 13 an opportunity to more fully appreciate the work of artists from the canton of Vaud and French‑speaking Switzerland more generally, whether they pursued their careers at home or abroad, and to compare and contrast it with international art trends. The collection is especially strong in relation 4 3 to movements such as Neo‑Classicism, Access 2 from level 2 Academicism, Realism, Symbolism and 1 Post‑Impressionism; abstract painting in Europe and the U.S.; Swiss and international video art; New Figuration; Geometric Abstraction; and, in every period, the work of socially and politically engaged artists. It also comprises major monographic collections, including work by Charles Gleyre, Félix Vallotton, Louis Soutter, Pierre Soulages and Giuseppe Penone. Installed on two levels, the selection from the permanent collection changes regularly, and pieces from the MCBA’s holdings are brought into dialogue with work on loan from i private collections. In this way, our view of the astounding vitality of art as seen from Lausanne is always renewed. Plan 5 8 6 10 7 Access from level 1 11 9 12 13 2 4 3 Access 2 from level 2 1 1 i 0 1st floor Room 1 The road to modernity Religious painting The 12th century saw the emergence of a new sensibility in pre‑Renaissance Europe as artists began to centre their work on the representation of human beings, even though the Bible and the apocryphal gospels remained their main source of inspiration.
    [Show full text]
  • Hodler//Parallelism 14.09.2018 – 13.01.2019
    Press Documentation Hodler//Parallelism 14.09.2018 – 13.01.2019 Hodler//Parallelism 14.09.2018 – 13.01.2019 Table of contents 1. General information ........................................................................... 2 2. The exhibition ................................................................................... 3 3. Quotes – Ferdinand Hodler (1853-1918) ............................................... 6 4. Biography Ferdinand Hodler ................................................................ 7 5. Accompanying volume published for the exhibition ................................. 9 Contact Maria-Teresa Cano Head of Communication and Public Relations Kunstmuseum Bern – Zentrum Paul Klee [email protected], Tel.: +41 31 328 09 44 1/9 Press Documentation Hodler//Parallelism 14.09.2018 – 13.01.2019 1. General information Duration of the exhibition 14.09.2018 – 13.01.2019 Team of curators Nina Zimmer, Kunstmuseum Bern – Zentrum Paul Klee Laurence Madeline, Paris With the generous support of In cooperation with Kanton Bern Credit Suisse Ernst Göhner Stiftung Ursula Wirz-Stiftung Vinetum Stiftung Ruth & Arthur Scherbarth Stiftung Pierre Kottelat Ruedi A. Wassmer 2/9 Press Documentation Hodler//Parallelism 14.09.2018 – 13.01.2019 2. The exhibition In his compositions, Ferdinand Hodler attempts to implement his ideas about parallelism, striving for beauty, harmony, and unity through the repetition of figures, forms, and colours. The exhibition Hodler//Parallelism presents, in ten sections, an opportunity to comprehend his theories and the related compositional principles in various bodies of his work and in a diversity of motifs. 1. Parallelism in Nature In his lecture Die Aufgabe des Künstlers (The quest of the artist) Ferdinand Hodler describes, based on his own observations, how for him parallelism is revealed in nature. In this context he points out the beauty of a path lined by lilac bushes in bloom or the pleasing effect of a meadow of flowers of the same colour as in Field of Flowers (1901).
    [Show full text]
  • The Im Obersteg and Rudolf Staechelin Collections
    Collectionism and Modernity.Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections DATES: 18th March 2015 / 14th September 2015 ORGANIZATION: Museo Nacional Centro de Arte Reina Sofía nd The Phillips Collection in collaboration with Im Obersteg Foundation and Rudolf Staechelin Collection PLACE: Museo Nacional Centro de Arte Reina Sofía (Madrid) Sabatini building. 4th Floor. CURATORSHIP: Rosario Peiró COORDINATORS: María de Prada ITINERANCE: The Phillips Collection. Washington D.C. (USA) (10th October 2015 – 10th Jannuary 2016) RELATED ACTIVITIES: - The shape of time. Filming the museum. Film Program - Abierto por obras. Family workshop for children aged 5 to 7 accompanied by adults - Artist’s workshop.For children aged 8 to 11 and child care associations - A propósito de… White Fire. The Modern Collection of the Kunstmuseum Basel. Guided tours of the exhibition for adults This exhibition brings together two leading collections of early modernist art that now form part of the holdings of the Kunstmuseum Basel (Basel, Switzerland), the Im Obersteg Collection and the Rudolf Staechelin Collection, offering an opportunity to enjoy works by the most reputed early modernist masters, the vast majority of which have never before been seen in Spain. It is moreover a chance to explore the phenomenon of collecting, with a focus on its centrality to the formation of modern art. Private collections of early modernism have traditionally been studied and exhibited with an emphasis on the contemplation of the works on display, neglecting the economic, social and political implications inherent to the activity of collecting in a context like that of Europe in the first decades of the 20th century.
    [Show full text]
  • Art Conservation Project
    The Bank of America Merrill Lynch Art Conservation Project 2012 Recipients © 2012 Bank of America Corporation Bank of America Merrill Lynch: Supporting the Arts As a company serving clients in more than 100 countries, Bank of America Merrill Lynch is committed to a diverse program of cultural support that engages individuals, organizations and communities in building mutual respect and recognition. The company’s investment in the arts strengthens institutions that contribute to local economies and sets opportunity in motion in a climate that promotes innovation and tolerance in an increasingly integrated world. Building on the company’s leadership in supporting the arts in the United States, Bank of America Merrill Lynch now partners with more than 5,000 arts organizations worldwide. The company’s multifaceted Arts and Culture Program provides assistance for a wide spectrum of the arts, with an emphasis on programs that foster greater cultural understanding. Works of art can provide a lasting reflection of peoples and cultures, but, over time, they are subject to deterioration or even loss. The Bank of America Merrill Lynch Art Conservation Project is a unique program that provides grants to nonprofit museums throughout the world to conserve historically or culturally significant works of art that are in danger of degeneration, including works that have been designated as national treasures. The program, introduced in 2010 in Europe, the Middle East and Africa, has been expanded to the Americas, Asia and Australia, with conservation projects in 19 global markets. Initially, works of art from ten markets received funding for conservation, including Winged Victory of Samothrace at the Louvre and Pablo Ruiz Picasso’s Woman in Blue at the Reina Sofia in Madrid.
    [Show full text]
  • DP Reverso Hodler EN
    JAEGER-LECOULTRE CELEBRATES THE WORK OF FERDINAND HODLER WITH ENAMELLED REVERSO WATCHES IN ITS RARE HANDCRAFTS “MÉTIERS RARES” WORKSHOP In 2018, the Jaeger-LeCoultre Manufacture once again highlights the expertise of its Rare Handcrafts “Métiers Rares” artisans with a series of three Reverso watches. Both sides of each piece feature miniature reproductions of paintings by the Swiss artist Ferdinand Hodler in remarkable engraving and enamelling. In a fitting commemoration of the 100th anniversary of Hodler’s death, landscapes of mountains and lakes, so characteristic of the painter’s work, were chosen to decorate the case of the Reverso Tribute Enamel. This watch, with its iconic Art Deco styling, features a white gold case that was specially created to serve as a canvas for the enamel miniature. The three models are each issued in eight-piece limited editions. Jaeger-LeCoultre’s Rare Handcrafts “Métiers Rares” celebrate the work of Ferdinand Hodler Remarkable guillochage work is featured on the front of the piece. Jaeger-LeCoultre's artisan guillocheur has embellished the dial with the help of a century-old machine requiring considerable expertise and years of experience. The dial’s small lozenges, giving the illusion as though they have been weaved, were created with finesse and delicate rendering. The engraving was then covered in translucent enamel. The colour of which, was carefully chosen to match the painting’s tone recreated on the reverse side. On the reverse of the watch, the handcrafted engraving continues, with lines tracing out an elegant frame for each of the enamelled paintings. This incredible work is unique on each model, enhancing the reproduced paintings, it is also a fitting supplement to the three gadroons so emblematic of the Reverso watch.
    [Show full text]