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Night
Ferdinand Hodler • 绘画, 1889, 116×299 厘米
画作描述 «Night»
Artist Paul Klee was 26 years younger than his compatriot Ferdinand Hodler. And of course, he could not help but admire him in his youth, when incredible frescoes appeared on the walls of museums in Zurich and Geneva with dancing female and heroic male figures. Later, being an experienced painter who is looking for emotional undertones in pure color, he will return to Switzerland and see the same works again:
“I pay tribute to him - he conveys the gestures of people perfectly. But I am disturbed by these of his figures, which look as if they cannot find a place for themselves. Hodler is interested in creatures with a spiritual hyper hue, or rather, only their image, but he neglects the hue painting of the painting. And these “things in themselves” become boring, especially when there are many of them in one place, and they start to get on your nerves. This is my rejection of him. But it seems ridiculous to me and the rejection of Khodler by a multitude of people who seek to associate his name with modern directions. ”
In the organization of the picturesque space, Hodler is really closer to Michelangelothan to his contemporaries. The same Klee, for example. Because where Klee is looking for expressive color, Hodler is looking for expressive form. The human body itself and human bodies coexisting in the same space. As if they should occupy the right places on some ritual site, get into the right postures - and then the magic will happen, the very heavy stone shutters will open up, the light will shed, the original order and harmony will reign in the world, lost and forgotten, for the last century. Towards the end of his life, Hodler admitted that he always wrote “religious” pictures - and some expressive theatricality or truly significant sacral character poses the heroes rather from the Renaissance prophets and heroes.
But the organizers of the Geneva exhibition of fine art in 1891 were not ready for such paintings. "Night" was rejected as defiantly indecent. Canvases of this size (three meters) were more often chosen by artists for historical or religious paintings. Even Sulfur, a few years before, daring to paint on a canvas of a similar size Sunday walks, at least covered clothes heroes. And naked bodies, two, three, one by one, where they had fallen asleep, as if, after a tiring orgy, they did not cause religious feelings in academics. But in Paris in 1890 they began to organize exhibitions of the National Society of Fine Arts, a kind of alternative to the official Salon. Here was a symbolist at the helm Puvis de Chavannes, vice president at the time was Auguste Rodin. "Night" Ferdinand Hodler both received with enthusiasm.
"Night" is a film about the horror of death that haunted Hodler since childhood. He lost his parents and brothers early - and was familiar with that creepy black creature hanging over the main character, quite close. He fences off the nightmare with the help of a powerful shield, which he also knows firsthand, - love. For female figures, the artist was posed by his first wife Berta Staki and the mistress, the mother of his son Hector, Augustine Dupin. All male characters are self portraits.
Author: Anna Sidelnikova
“I pay tribute to him - he conveys the gestures of people perfectly. But I am disturbed by these of his figures, which look as if they cannot find a place for themselves. Hodler is interested in creatures with a spiritual hyper hue, or rather, only their image, but he neglects the hue painting of the painting. And these “things in themselves” become boring, especially when there are many of them in one place, and they start to get on your nerves. This is my rejection of him. But it seems ridiculous to me and the rejection of Khodler by a multitude of people who seek to associate his name with modern directions. ”
In the organization of the picturesque space, Hodler is really closer to Michelangelothan to his contemporaries. The same Klee, for example. Because where Klee is looking for expressive color, Hodler is looking for expressive form. The human body itself and human bodies coexisting in the same space. As if they should occupy the right places on some ritual site, get into the right postures - and then the magic will happen, the very heavy stone shutters will open up, the light will shed, the original order and harmony will reign in the world, lost and forgotten, for the last century. Towards the end of his life, Hodler admitted that he always wrote “religious” pictures - and some expressive theatricality or truly significant sacral character poses the heroes rather from the Renaissance prophets and heroes.
But the organizers of the Geneva exhibition of fine art in 1891 were not ready for such paintings. "Night" was rejected as defiantly indecent. Canvases of this size (three meters) were more often chosen by artists for historical or religious paintings. Even Sulfur, a few years before, daring to paint on a canvas of a similar size Sunday walks, at least covered clothes heroes. And naked bodies, two, three, one by one, where they had fallen asleep, as if, after a tiring orgy, they did not cause religious feelings in academics. But in Paris in 1890 they began to organize exhibitions of the National Society of Fine Arts, a kind of alternative to the official Salon. Here was a symbolist at the helm Puvis de Chavannes, vice president at the time was Auguste Rodin. "Night" Ferdinand Hodler both received with enthusiasm.
"Night" is a film about the horror of death that haunted Hodler since childhood. He lost his parents and brothers early - and was familiar with that creepy black creature hanging over the main character, quite close. He fences off the nightmare with the help of a powerful shield, which he also knows firsthand, - love. For female figures, the artist was posed by his first wife Berta Staki and the mistress, the mother of his son Hector, Augustine Dupin. All male characters are self portraits.
Author: Anna Sidelnikova
