Ferdinand HodlerSvizzera, 1853–1918Study for Day (Truth)
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Art Institute of Chicago
Chicago, Stati Uniti
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- Verificato
- l’altro ieri
- Ultimo cambio di stato
- 19 ago 2026
- Fonte
- I dati di collezione del museo stesso
Sull’opera
The artist’s wife, Berthe Jacques, served as the model for this preliminary study for the Art Institute’s painting Day (Truth). Hodler would often have his models pose behind a wooden frame with a grid of threads stretched across it—a method first described by the artist Albrecht Dürer in the 16th century. This allowed Hodler to accurately check the subject’s proportions and measurements against the drawing, which was also outlined with a grid.
Art Institute of ChicagoCC BY 4.0
Scheda
- Numero di inventario
- 2004.1117
In catalogo
Fonti
- Art Institute of Chicago: the museum's own open data · acquisita 5 giorni fa
- Immagine: Art Institute of Chicago — CC0
Nel frattempo, nella vita di Ferdinand Hodler
Tutta la vita1894
Meets Berthe Jacques
In 1894 Hodler met Berthe Jacques (1868–1957); in 1898 she became his second wife.
16 May 1896
Filmed by the Lumière brothers
On 16 May 1896, the opening day of the National Exhibition in Geneva, Hodler was filmed by the Lumière brothers for a documentary in the “Swiss Village”, where he was showing 26 painted façade panels.
1897
Frescoes for the Swiss National Museum
In 1897 Hodler accepted a commission for a series of large frescoes for the Weapons Room of the Swiss National Museum in Zurich. His proposed compositions — including The Battle of Marignano, a battle the Swiss lost — proved controversial, and he was not allowed to execute the frescoes until 1900.
1897
The lecture “La Mission de l'artiste”
In 1897 Hodler first made his theory of “parallelism” public, in the manuscript of his lecture La Mission de l'artiste.
