Hodler Ferdinand 霍德勒費迪南德 (1853-1918) Swiss Symbolism, Art Nouveau скачать в хорошем качестве

Hodler Ferdinand 霍德勒費迪南德 (1853-1918) Swiss Symbolism, Art Nouveau

Ferdinand Hodler The Swiss painter Ferdinand Hodler (1853-1918), using stylized, awkwardly gesturing figures in conjunction with simplified color, overcame realistic and impressionist conventions and infused his works with an intellectual, symbolic content. Ferdinand Hodler was born in Bern on March 14, 1853. His childhood was characterized by poverty, sickness, and death. His father died soon after Hodler's birth and his mother died when he was 13; nine of her children likewise died early. Hodler's first training as an artist was in the workshop of his stepfather; in 1867 he began to study with a local landscape painter. In search of better training, he went to Geneva in 1871, where he painted signs while learning French; until 1876 he studied under Barthélémy Menn, who introduced him to the works of Camille Corot, Eugène Delacroix, and J. A. D. Ingres. Hodler was greatly impressed by the paintings of Hans Holbein the Younger, and he studied the theories of Albrecht Dürer, Leonardo da Vinci, and Vitruvius in his search for answers to the artistic analysis of nature. Hodler's artistic formation formally ended in 1878, when he went to Madrid to study the work of Peter Paul Rubens and Diego Velázquez at the Prado Museum. Hodler's paintings of the 1880s demonstrate a dichotomy of purpose. Although he worked in an impressionist or realistic manner, he sought to impart an intellectual or emotional content that transcended visible reality. In his Prayer in the Canton Bern (1880-1881) he carefully rendered peasants caught up in fervent prayer, simultaneously representing his own spiritual crises and his desire to flee industrialized modern society and find refuge in an innocent, ideal environment. By 1886 Hodler had begun to paint in a sharply delineated, harsh style touched with rustic awkwardness and simplicity, as in the Courageous Woman. His paintings took on a more emotional quality as they represented moods of anger, despair, or yearning. Night (1889), completed after a serious psychological crisis, marked the final break with realism; it linked him with the symbolist movement then spreading throughout Europe. Night, with its enigmatic dreamlike scene, large format, monumental figures, tendency toward flatness, and repetition of similar colors and forms—a system of composition Hodler named "parallelism"—is characteristic of all Hodler's mature works. These mystical, antirealistic paintings depicting an escape from the bourgeois cares of modern life gained Hodler first notoriety and then popularity. In 1900 he received a Gold Medal at the Paris World's Fair, and in 1912 he was made an officer of the French Foreign Legion. In Germany he received commissions to create monumental patriotic murals, culminating in the Jena Students Entering the 1813 War of Liberation and the Reformation Oath of Hanover on July 26, 1533 (1913-1914). Hodler died on May 19, 1918, in Geneva. His formal vocabulary was too personal to act as a major influence, but his antirealistic attitude quickened the demise of naturalism and impressionism. 斐迪南.霍德勒（ferdinand hodler 1853-1918）瑞士象徵主義畫家。 霍德勒在十九歲上來到日內瓦美術學校,在讓·奧古斯特·多明尼克·安格爾的學生和卡米耶·柯羅的朋友巴爾德勒米·麥恩指導下,進行嚴格的學習，並以《小學生》一畫(1875年)蜚聲.這是他假期時在朗根塔爾,以荷爾拜因風格所作的一幅肖像。 斐迪南.霍德勒在畫各種勞作中的工人和手工業者一鞋匠、鎖匠、木匠、鐘錶匠的同時，還以樸素的風格，特別是洗練的手法和簡單的大面。畫了一些明亮、清澈、可能過於明確，總之不算生硬的風景。而這就已經是開始與傳統畫風決裂了。 1891年，霍德勒在三月廣場國家畫會展出作品《夜》。1892年,他參加了由一位有點荒誕的預言者主辦的玫瑰-十字沙龍。在該展最轟動的《失望的人們》一畫中，他表現出當時猖獗一時，並沖昏很多先進頭腦的嚴重疾病：象徵主義。 對於有些粗野的人來說，走向象徵主義會是一場災難。這就是霍德勒當時的情況。他在表現日常生活情景上本來是得心應手的，這時卻開始創作《中選者》(1894年)：一個男孩跪在一座微型花園的前面，在一群穿著睡衣,排成半圓形的天使保護下，進行奇思遐想。 另外，霍德勒還畫了《戒律》(1895年)。這種有些荒唐的神話如若不是要斷送我們的繪畫，起碼也會使它喜愛浮誇。就如當時日爾曼地區畫家們所幹的那樣。從這時起，畫家霍德勒開始連續進行大幅歷史創作。 畫家霍德勒在萬年的時候開始畫一些顏色高雅的湖泊風景。作為畫家，他的命運和挪威畫家愛德華·蒙克有些相似。