"Each feeling has its own gesture". Rhythm and Dance in Ferdinand Hodler's Figure Paintings
by Verena Senti-Schmidlin
Although they seem to be quite still, Hodder's paintings have a veritable choreographic ambition and are linked to the new perceptions of the body which emerged in all fields about 1900. Rhythm and gesture were invested with plastic meaning and regenerated symbolism. Close to the musician and teacher Jacques-Dalcroze, Hodler explored the aesthetic trends of contemporary dance to translate the dynamics of the bodies and their relationship with the cosmos into his painting.
Ferdinand Hodler's Models: between Tradition and Modernity
by Gabriela Christen
Strongly influenced by his alpine origins, Ferdinand Hodler was nonetheless more than the solitary autodidact he is complacently given to be. His style, drawing on classical sources as much as popular traditions, was quickly receptive to modern trends in painting and contemporary dance. But we must also take into account the peculiar use he made of his models, his studio work and the "tableau vivant".
Notes on Valentine Godé-Darel by Ferdinand Hodler
by Monika Brunner
Three years before his own death, Ferdinand Hodler lived through the illness and agony of his companion, Valentine Godé-Darel. Valentine was a Parisian who became one of his favourite models. At the dying woman's bedside, Hodler decided to catch the last moments of their life together by prolonging them in his painting. The result was a series of drawings and paintings midway between a memorial and a celebration, death and transfiguration.
Bibliography of reviews
The Société des Amis du Musée d'Orsay