Please use this identifier to cite or link to this item:
Title Renaissance Vector in the Works of Ferdinand Hodler
Author email
About author Shtolder, Natalia Vladimirovna — Ph. D., associate professor. Russian State University of Tourism and Services Studies, Glavnia Str., 99, Cherkizovo pos., 141221 Moskovskaia obl., Russian Federation.
In the section Western Art ca. 1600 – 1900 DOI10.18688/aa166-6-57
Year 2016 Volume 6 Pages 532541
Type of article RAR Index UDK 75. 03, 75.035/.036 Index BBK 85.14

At the turn of the 19th–20th centuries, the appeal to the art of Renaissance was one of the special features of the European artistic quest. The creative method of Swiss artist Ferdinand Hodler (1853–1918) was largely inspired by the ideas of this epoch; nevertheless, his altered forms were linked with the spirit of his time. The article considers a series of comparisons and connections between Hodler’s creations and Re- naissance art which reveals the versatility and depth of this recognized European master. The study analyzes a number of paintings and graphic works on the theoretical background of his theory of parallelism. Hodler’s symbolic canvases were compared with frescoes by Giotto, Michelangelo and other Renaissance artists evi- dent in their monumental and decorative approach to the construction of space with regard to symmetry and a three-dimensional form. It is noted that Hodler’s humanistic orientation of vision and his reverence for the Old Masters, as well as the idea of unity, similarity, and repetition formed at the time of training by B. Menn. Moreover, the study questions the connection with the Northern Renaissance masters, Holbein and Durer, in different aspects. As a result, Hodler appears as a “Renaissance man” in the paradigm of the art of the given period. There is a sense of harmony between a man and nature found in a paradoxical convergence of his individual realistic visual language and latent symbolic meanings.

Reference Natalia Shtolder. Renaissance Vector in the Works of Ferdinand Hodler. Actual Problems of Theory and History of Art: Collection of articles. Vol. 6. Eds: Anna V. Zakharova, Svetlana V. Maltseva, Ekaterina Yu. Stanyukovich-Denisova. St. Petersburg, NP-Print Publ., 2016, pp. 532–541. ISSN 2312-2129.
Publication Article language russian
  • Bätschmann O. Realismus im Ornament. Ferdinand Hodlers Prinzip der Einheit. Ferdinand Hodler. Eine symbolistische Vision. Katalog. Ostfildern, Hatje Cantz Verlag, Kunstmuseum Bern, Szépmüvészeti Múzeum, Budapest, und die Autoren Publ., 2008, pp. 19–33 (in German).
  • Blanc Ch. The Grammar of Painting and Engraving (1873). New York, Kessinger, LLC Publ., 2008. 356 p.
  • Brunner M. Voyage en Italie. Ferdinand Hodlers Skizzenhefte seiner Italienreisen. Grammatik der Kunstgeschichte. Sprachproblem und Regelwerk im . Zurich, Schweizerisches Institut für Kunstwissenschaft, Imorde Publ., 2008, pp. 195–207 (in German).
  • Brüschweiler J. Ferdinand Hodler im Spiegel der zeitgenössischen Kritik. Lausanne, Rencontre Publ., 1970. 127 p. (in German).
  • Brüschweiler J. (ed.) Ferdinand Hodler. Katalog. Nationalgalerie Berlin, Staatliche Museen Preußischer Kul- turbesitz Berlin, Musée du Petit Palais Paris, Kunsthaus Zürich. Ausstellung. Zurich, Kunsthaus Zurich Publ., 1983. 500 p. (in German).
  • Brüschweiler J. (ed.) Ferdinand Hodler et Genève. Collection du Musée d’art et d’histoire, Musée Rath, Genève. Catalogue. Geneve, La Baconniére/Arts Publ., 2005. 262 p. (in French).
  • Burger F. Cezanne und Hodler: Einführung in die Probleme der Malerei der Gegenwart. Munich, Delphin- Verlag Publ., 1920, part I, II. 174 p., 190 p. (in German).
  • Chikolini L. S. (ed.) Rafael’ i ego vremia (Raphael and his Time). Moscow, Nauka Publ., 1986. 256 p. (in Russian).
  • Diurer A. Traktaty, dnevniki, pis’ma (Treatises, Diaries, Letters). Saint-Petersburg, Azbuka Publ., 2000. 704 p. (in Russian).
  • Guber A. A. (ed.) Mastera iskusstva ob iskusstve (Masters of Art about Art), vol. V. Moscow, Iskusstvo Publ., 1969, pp. 131–140 (in Russian).
  • Güdel N. M. Ferdinand Hodler. La Mission de l’artiste. Geneva, Notari Publ., 2014. 173 p. (in French). Hirsh Sharon L. Ferdinand Hodler. New York, George Braziller Publ., 1982. 144 p.
  • Hirsh Sharon L. Hodler’s Symbolist Themes. Michigan, Ann Arbor, UMI Research Press Publ., 1983. 191 p. Julliard J. E. (ed.) Ferdinand Hodler. La collection Rudolf Schindler. Die Sammlung Rudolf Schindler. Zurich, Musée Jenisch Vevey et und Verlag Scheidegger & Spiess AG Publ., 2015. 268 p. (in German, in French).
  • Kenel’ F. (ed.) Ferdinand Hodler (Ferdinand Hodler). Katalog. Zurich, Shveitsarskii fond kul’tury PRO GEL’VETSIA Publ., 1988. 108 p. (in Russian).
  • Lehnherr Y. (ed.) Hodler. Die Mission des Künstlers. La Mission de L’artiste. Katalog, Ausstellung “Hodler und Freiburg“. Bern, Benteli Verlag Publ., 1981. 140 p. (in German, in French).
  • Lemoine S. (ed.) Ferdinand Hodler. 1853–1918. Catalogue, Musée d’Orsay. Paris, La Réunion des muséesnationaux Publ., 2007. 268 p. (in French).
  • Lloyd J.; Küster U. (ed.) Ferdinand Hodler. View to Infinity. Catalogue. Ostfildern, Beyeler Museum AG, Reinen/Basel, Neue Galerie New York, Hatje Cantz Verlag Publ., 2013. 212 p.
  • Loosli C. A. Ferdinand Hodler, Leben, Werk und Nachlass, 4 vols. Bern, Verlag von R. Suter und Cie. Publ., 1921–24. 280 p., 230 p., 222 p., 344 p. (in German, in French).
  • Losev A. F. Estetika Vozrozhdeniia (The Aesthetics of Renaissance). Moscow, Mysl’ Publ., 1998. 753 p. (in Russian).
  • Lüthy H. A.; Fischer P. (ed.) Ferdinand Hodler. Views & Vision. Catalogue. Zurich, Swiss Institute for Art Research, the Trust for Museum Exhibitions Publ., 1994. 176 p.
  • Müller P. Les paysages de Ferdinand Hodler. Enter réalisme et symbolisme. Ferdinand Hodler. 1853–1918. Catalogue, Musée d’Orsay. Paris, La Réunion des musées nationaux Publ., 2007, pp. 175–185 (in French).
  • Sarab’ianov D. V. Modern. Istoriia stilia (Modern Style. The history of Style). Moscow, Galart Publ., 2001. 343 p. (in Russian).
  • Schmidt K.; Walter B.; Bhattacharya-Stettler T. (ed.) Ferdinand Hodler. Eine symbolistische Vision. Katalog. Ostfildern, Hatje Cantz Verlag, Kunstmuseum Bern, Szépmüvészeti Múzeum, Budapest, und die Autoren Publ., 2008. 416 p. (in German).
  • Shtol’der N. V. Panno epokhi modern (Panel of Modern Style), Ph. D. thesis. Moscow, 2006. 174 p. (in Russian).
  • Terrazzi L.; del Riccio C. Von der Gotik bis zur Renaissance. Duccio, Giotto, Simone Martini, Pietro und Ambrogio Lorenzetti, Masaccio, Frau Angelico, Filippo Lippi, Benozzo Gozzoli. Florence, SCALA Group Publ., 2003. 640 p. (in German).
  • Waser M. Wege zu Hodler. Zurich, Rigoletto Publ., 1979. 90 p. (in German).