The rituals of Ferdinand Hodler

Ferdinand Hodler had a troubled childhood as he lost his father and two younger brothers to tuberculosis. Unfortunately, her mother died a few years later from the same disease after establishing a new life and remarrying a decorative painter. In the absence of his mother, his stepfather used him in his work as a labourer. But as Ferdinand grew up, he looked for a better environment to widen his artistic proficiency. He travelled to Geneva and met Menn, a Swiss Painter who helped him orient his works to German and Italian artistic styles. [1]

His family’s loss caused Hodler to focus on death’s horrific impact, which had overshadowed the painter’s merciless destiny. He was fascinated by the crucifixion of Christ, immersed in thoughts of suffering, mental distress,  and severe illness. Gradually the theme of death became one of his primary subjects of work.

It was difficult for Hodler to make a living from his works. His painting “Night” failed to survive in Geneva’s Beaux-Arts exhibition. After that withdrawn from the exhibition, ignored and unrecognized by the critics, he approached Salon in Paris to exhibit “Night” and once again tried his luck among French artistic society. He took advantage of controversial artistic discussions and disagreements and attracted many artists such as French sculptor Rodin and the famous mural painter Chavannes. [2][3]

He once said that the Swiss would not understand him until they see he gets recognition elsewhere. He considered French assessment and the gained credits as his triumph and returned to Geneva to succeed with his determined efforts. The representatives of the new European artistic movements invited him to join Berlin and Vienna Secession.

Hodler began his work with the influences of Realism and Symbolism. But gradually, he generated and found his own artistic identity.