Ferdinand Hodler
1853-1918 Swiss Ferdinand Hodler Galleries Hodler was born in Berne and grew up in poverty. 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, but in 1867 she too died of tuberculosis. Before he was ten, Hodler received training in decorative painting from his stepfather, and was subsequently sent to Thun to apprentice with a local painter, Ferdinand Sommer. Hodler's earliest works were conventional landscapes, which he sold in shops and to tourists. In 1871, at the age of 18, he traveled on foot to Geneva to start a career as a painter. The works of Hodler's early maturity consisted of landscapes, figure compositions and portraits, treated with a vigorous realism. He made a trip to Basel in 1875, where he studied the paintings of Hans Holbein??especially Dead Christ in the Tomb, which influenced Hodler's many treatments of the theme of death. In the last decade of the 19th century his work evolved to combine influences from several genres including symbolism and art nouveau. He developed a style which he called Parallelism, characterized by groupings of figures symmetrically arranged in poses suggesting ritual or dance. In 1884 Hodler met Augustine Dupin (1852?C1909), who became his companion and model for the next several years. Their son, Hector Hodler, was born in 1887. In 1889 Hodler married Bertha Stucki; they were divorced in 1891. Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky. However, the most famous of Hodler's paintings portray scenes in which characters are engaged in everyday activities, such as the famous woodcutter (Der Holzfaller, Mus??e d'Orsay, Paris). This picture went on to appear on the back of the 50 Swiss Franc bank note issued by the Swiss National Bank. In 1898, Hodler married Berthe Jacques. In 1914 he condemned the German atrocities conducted using artillery at Rheims. In retaliation for this, German art museums excluded Hodler's work. In 1908 he met Valentine Gode-Darel, who became his mistress. She was diagnosed with cancer in 1913, and the many hours Hodler spent by her bedside resulted in a remarkable series of paintings documenting her disintegration. Her death in January 1915 affected Hodler greatly. He occupied himself with work; a series of about 20 introspective self-portraits date from 1916. By late 1917 his declining health led him to thoughts of suicide. He died on May 19, 1918 in Geneva leaving behind a number of unfinished works portraying the city.

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Ferdinand Hodler mountain scene oil painting


mountain scene
mk247 1909,oil on canvas,private collection
Painting ID::  56404
Ferdinand Hodler
mountain scene
mk247 1909,oil on canvas,private collection
   
   
     

Ferdinand Hodler lake thun and the stockhorn mountains oil painting


lake thun and the stockhorn mountains
mk247 1910,oil on canvas,33x42 in,83x106 cm,scottish national gallery of modern art ,edinburgh,uk
Painting ID::  56451
Ferdinand Hodler
lake thun and the stockhorn mountains
mk247 1910,oil on canvas,33x42 in,83x106 cm,scottish national gallery of modern art ,edinburgh,uk
   
   
     

Ferdinand Hodler song in the distance oil painting


song in the distance
mk247 1914,oil on canvas,71x49.25 in,179x125 cm,hamburger kunsthalle,hamburg,germany
Painting ID::  56489
Ferdinand Hodler
song in the distance
mk247 1914,oil on canvas,71x49.25 in,179x125 cm,hamburger kunsthalle,hamburg,germany
   
   
     

Ferdinand Hodler malning av ett berg oil painting


malning av ett berg
mk248 landskapsmaleri blev ett framgangsrikt omrade for hodler under bans sita ar.koloriten i bans bergskedjor ocb sjoar blev starkare cob klarare i takt med att stilen utvecklades. han lyckades kadinera spar av den stora scbweiziska bildkonsten med en mycket personlig, visionar stil ocb resultatet tilltakade sarskilt fr manga turister som fardats pa alpjarnvagarna.
Painting ID::  56602
Ferdinand Hodler
malning av ett berg
mk248 landskapsmaleri blev ett framgangsrikt omrade for hodler under bans sita ar.koloriten i bans bergskedjor ocb sjoar blev starkare cob klarare i takt med att stilen utvecklades. han lyckades kadinera spar av den stora scbweiziska bildkonsten med en mycket personlig, visionar stil ocb resultatet tilltakade sarskilt fr manga turister som fardats pa alpjarnvagarna.
   
   
     

Ferdinand Hodler smarta oil painting


smarta
1900 olja pa duk 70x115cm se
Painting ID::  70830
Ferdinand Hodler
smarta
1900 olja pa duk 70x115cm se
   
   
     

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     Ferdinand Hodler
     1853-1918 Swiss Ferdinand Hodler Galleries Hodler was born in Berne and grew up in poverty. 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, but in 1867 she too died of tuberculosis. Before he was ten, Hodler received training in decorative painting from his stepfather, and was subsequently sent to Thun to apprentice with a local painter, Ferdinand Sommer. Hodler's earliest works were conventional landscapes, which he sold in shops and to tourists. In 1871, at the age of 18, he traveled on foot to Geneva to start a career as a painter. The works of Hodler's early maturity consisted of landscapes, figure compositions and portraits, treated with a vigorous realism. He made a trip to Basel in 1875, where he studied the paintings of Hans Holbein??especially Dead Christ in the Tomb, which influenced Hodler's many treatments of the theme of death. In the last decade of the 19th century his work evolved to combine influences from several genres including symbolism and art nouveau. He developed a style which he called Parallelism, characterized by groupings of figures symmetrically arranged in poses suggesting ritual or dance. In 1884 Hodler met Augustine Dupin (1852?C1909), who became his companion and model for the next several years. Their son, Hector Hodler, was born in 1887. In 1889 Hodler married Bertha Stucki; they were divorced in 1891. Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky. However, the most famous of Hodler's paintings portray scenes in which characters are engaged in everyday activities, such as the famous woodcutter (Der Holzfaller, Mus??e d'Orsay, Paris). This picture went on to appear on the back of the 50 Swiss Franc bank note issued by the Swiss National Bank. In 1898, Hodler married Berthe Jacques. In 1914 he condemned the German atrocities conducted using artillery at Rheims. In retaliation for this, German art museums excluded Hodler's work. In 1908 he met Valentine Gode-Darel, who became his mistress. She was diagnosed with cancer in 1913, and the many hours Hodler spent by her bedside resulted in a remarkable series of paintings documenting her disintegration. Her death in January 1915 affected Hodler greatly. He occupied himself with work; a series of about 20 introspective self-portraits date from 1916. By late 1917 his declining health led him to thoughts of suicide. He died on May 19, 1918 in Geneva leaving behind a number of unfinished works portraying the city.

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