Ferdinand HODLER (1853-1918) (page in construction)
Except otherwise stated, all results include the premium.
See also Swiss painting < 1940
See also Swiss painting < 1940
1901 Genfersee von Saint-Prex aus
2007 SOLD for CHF 11M by Sotheby's
Sold by Sotheby's on June 5, 2007 for CHF 11M
2007 lot 48. Genfersee von Saint-Prex aus (72 x 102 cm)
2007 lot 48. Genfersee von Saint-Prex aus (72 x 102 cm)
1904 Genfersee von Chexbres aus
2011 SOLD for CHF 7.1M by Sotheby's
Sold by Sotheby's on November 28, 2011 for CHF 7.1M
Link to lot 47.
Link to lot 47.
1908 Genfersee
2006 SOLD for CHF 5M by Sotheby's
1908 Eiger, Mönch und Jungfrau
2005 SOLD for CHF 4.8M by Sotheby's
On November 29, 2005 an almost abstract 69 x 93 cm painting, representing three prestigious peaks above a sea of clouds, sold 4.8 MCHF at Sotheby's in Zurich.
1910 Eiger, Mönch und Jungfrau von Beatenberg aus
2009 SOLD for CHF 4.2M by Christie's
link to lot 87.
1912 Frühling
2014 SOLD for CHF 4.7M by Koller
The symbolist work of Ferdinand Hodler is mostly inspired from Puvis de Chavannes who encouraged him. He seeks to express happiness and future by displaying innocent teens at the dawn of their transition to adulthood. In 1891, the Night showing a naked sleeping girl at the forefront of a mixed group makes a scandal.
The theme of spring (Der Frühling) occupied him for several years. The boy totally in the nude is sitting on his knee. The barefoot girl is dressed in a long almost white antique tunic confirming her virginity.
The two characters do not know each other. They are side by side but facing into different directions. The half-closed eyed girl is occupied in a pantheistic prayer. The clever gaze of the boy goes far away as if he were seeking for the truth in the mountains.
Four paintings were done from 1899. The last of these oils on canvas, Der Frühling IV, 106 x 128 cm, completed around 1912, was sold for CHF 4.7M by Koller on June 27, 2014.
The traditional interpretation of Frühling as an allegory to sexual awakening may be wrong. The nudity of the boy can also be the hope set by Hodler in his brilliant son Hektor, twelve years old when this theme was started and very active from 1906 in the organization of the Esperanto movement.
The drama awaits the Hodlers. In 1915, when the son is cared in a sanatorium, the father expresses his anguish by an overwhelming and timeless vision of the infinity of the mountains which provides the most emotional part in his important career of landscape painter.
The theme of spring (Der Frühling) occupied him for several years. The boy totally in the nude is sitting on his knee. The barefoot girl is dressed in a long almost white antique tunic confirming her virginity.
The two characters do not know each other. They are side by side but facing into different directions. The half-closed eyed girl is occupied in a pantheistic prayer. The clever gaze of the boy goes far away as if he were seeking for the truth in the mountains.
Four paintings were done from 1899. The last of these oils on canvas, Der Frühling IV, 106 x 128 cm, completed around 1912, was sold for CHF 4.7M by Koller on June 27, 2014.
The traditional interpretation of Frühling as an allegory to sexual awakening may be wrong. The nudity of the boy can also be the hope set by Hodler in his brilliant son Hektor, twelve years old when this theme was started and very active from 1906 in the organization of the Esperanto movement.
The drama awaits the Hodlers. In 1915, when the son is cared in a sanatorium, the father expresses his anguish by an overwhelming and timeless vision of the infinity of the mountains which provides the most emotional part in his important career of landscape painter.
1912 Thunersee mit Stockhornkette in Winter
2017 SOLD for CHF 4.3M by Sotheby's
December 5, 2017
Link to lot 35.
Link to lot 35.
1912-1913 Thunersee
2020 SOLD for CHF 4.05M by Koller
oil on canvas 62 x 85 cm painted by Hodler in 1912-1913, sold for CHF 4.05M by Koller on December 4, 2020, lot 3031.
1913 Thunersee mit Stockhornkette
2006 SOLD for CHF 5.7M by Sotheby's
1915 Montana
2013 SOLD for CHF 8M by Sotheby's
The artistic evolution of Ferdinand Hodler is unique. He starts as a symbolist but his early landscapes, between realism and impressionism, are not especially significant.
Over time, however, landscape will become his most original and most emotional theme. Hodler destroys perspective to better reach infinity. The meadow in the foreground is insignificant and the vast surface of the lake repels the mountain far away.
This transformation is slow, but the mystical intent is more and more obvious. 1915 is a terrible year for Hodler. His young mistress died of cancer in January and his son battles tuberculosis in a sanatorium at Crans Montana.
On June 4, 2013, Sotheby's sold at lot 34 for CHF 8M from a lower estimate of CHF 3.8M an oil on canvas 66 x 80 cm painted in 1915 featuring a landscape of Montana.
Hodler no longer needs to observe the mountains. They are nothing more than an excuse to express his angst. The lake is extremely exaggerated or purely imaginary.
The mountain in the distance will never change. It is eternity, as opposed to the fragility of human works that are totally absent from this composition. Its symmetry increases its strength. The blue of the lake echoes the sky, and the ochres that dot the hill and its reflection mark the hope of a future life in this landscape at the creation of the world.
The mystical questioning of the mountains has not relieved Hodler. His life is broken. He died three years later.
Over time, however, landscape will become his most original and most emotional theme. Hodler destroys perspective to better reach infinity. The meadow in the foreground is insignificant and the vast surface of the lake repels the mountain far away.
This transformation is slow, but the mystical intent is more and more obvious. 1915 is a terrible year for Hodler. His young mistress died of cancer in January and his son battles tuberculosis in a sanatorium at Crans Montana.
On June 4, 2013, Sotheby's sold at lot 34 for CHF 8M from a lower estimate of CHF 3.8M an oil on canvas 66 x 80 cm painted in 1915 featuring a landscape of Montana.
Hodler no longer needs to observe the mountains. They are nothing more than an excuse to express his angst. The lake is extremely exaggerated or purely imaginary.
The mountain in the distance will never change. It is eternity, as opposed to the fragility of human works that are totally absent from this composition. Its symmetry increases its strength. The blue of the lake echoes the sky, and the ochres that dot the hill and its reflection mark the hope of a future life in this landscape at the creation of the world.
The mystical questioning of the mountains has not relieved Hodler. His life is broken. He died three years later.
