Paper

Student Artwork Guide

Study of

Ferdinand Hodler, 1912

Name Class Date
Ferdinand Hodler, Study of (1912), National Gallery of Bosnia and Herzegovina. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Ferdinand Hodler topimpressionists.com/en/artists/ferdinand-hodler/
Artist’s dates
1853 – 1918
Painted
1912
Medium
Acrylic On Canvas
Original size
25 x 29 cm
Movement
Symbolic Expressionism
Held at
National Gallery of Bosnia and Herzegovina topimpressionists.com/en/museums/national-gallery-of-bosnia-and-herzegovina-sarajevo/
Artistic style
Expressionist
Influences
Landscape Painting
Notable elements or techniques
Gestural Style
Subject or theme
Sports

Copyright This work is in the public domain. Ferdinand Hodler died in 1918; copyright lasts 70 years after the artist’s death, so it ended in 1988.

Source: TopImpressionists.com — accessed Oct. 8, 2026

Study of — Ferdinand Hodler Part 1 · The artwork

In context

Study of — Ferdinand Hodler

How big is it?

The original measures 25 × 29 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1850
  2. 1860
  3. 1870
  4. 1880
  5. 1890
  6. 1900
  7. 1910

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 65 at death.

Painted when the artist was 59. The artist lived to 65. 235 of the 311 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Ferdinand Hodler (1853–1918) ▲ this work, 1912 every dated painting, decade by decade

First works: up to 1895 Main working years: 1895–1911 Late works: from 1911

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/ferdinand-hodler-study-of-D7SAJB-en/

Colours

Measured from the image

    Main colour

    Putty #dfdbcd

    Catalogued palette

    • #DFDBCD
    • #7F7B71
    • #CEC9BB
    • #B0AB9E

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Monochrome The dominant colour family in the image.
    Main colour name
    Putty
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Ferdinand Hodler over the last twelve months — 17 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 61.8%24,700 visits
    2. 2 Singapore 10.8%4,300 visits
    3. 3 United States of America 9.8%3,900 visits
    4. 4 Hong Kong 8.8%3,500 visits
    5. 5 Switzerland 1.5%600 visits
    6. 6 Mexico 1.5%600 visits
    7. 7 Netherlands 1.2%500 visits
    8. 8 Italy 1.0%400 visits
    9. 9 Brazil 0.8%300 visits
    10. 10 Spain 0.8%300 visits
    11. · 7 other countries 2.0%900 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Ferdinand Hodler

    1. 1 Study for, 1908 1.3%600 visits
    2. 2 Sunset on Lake Geneva, 1915 1.1%500 visits
    3. 3 Figure study, 1909 1.1%500 visits
    4. 4 Self portrait, 1916 1.1%500 visits
    5. 5 Composition study, 1899 1.1%500 visits
    6. 6 Communication with the Infinite, 1892 1.1%500 visits
    7. 7 Study of a standing figure, 1910 1.1%500 visits
    8. 8 Four Couples in Love, 1908 1.1%500 visits
    9. 9 Figure study, 1899 1.1%500 visits
    10. 10 Lauterbrunnen Valley and dust stream in the moonlight, 1894 1.1%500 visits
    11. 11 Valentine Godé-Darel on her Deathbed, 1915 1.1%500 visits
    12. 12 On the Bank of the Maggia in the Evening, 1893 0.9%400 visits
    13. 13 Dents du Midi from Champéry, 1916 0.9%400 visits
    14. 14 Holy Hour, 1913 0.9%400 visits
    15. 15 Landscape of the Swiss Alps, 1918 0.9%400 visits
    16. 16 Lumberjack, study, 1910 0.9%400 visits
    17. 17 Boy picking flowers, 1895 0.9%400 visits
    18. 18 Composition study, 1887 0.9%400 visits
    19. 19 Portrait of a woman, 1912 0.9%400 visits
    20. 50 Study of, 1912 this painting 0.7%300 visits

    Together these works take 20.2% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 570 works by this artist, of which 240 were looked at at least once. This painting ranks 50 of them, with 0.7% of that attention (300 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Study of — Ferdinand Hodler Part 2 · In context

    About this artwork

    Study of — Ferdinand Hodler

    Ferdinand Hodler: Echoes of Loss in Baseball’s Silent Dance

    The late nineteenth century witnessed an artistic fervor unlike any seen before, fueled by burgeoning industrialization and a profound questioning of traditional values. Amidst this turbulent backdrop emerged Ferdinand Hodler (1853-1918), a Swiss painter whose distinctive style—characterized by bold contours, flattened planes, and a haunting stillness—captured the essence of his era while simultaneously grappling with deeply personal anxieties. Hodler’s oeuvre is marked by recurring motifs of death, decay, and vulnerability, reflecting not merely an awareness of mortality but also a deliberate embrace of its transformative power. This preoccupation found particularly poignant expression in works like “Study for Banknote,” a captivating pen drawing that exemplifies his signature approach to portraying the human figure within landscapes imbued with symbolic resonance.

    A Landscape Steeped in Symbolism

    Hodler’s canvases rarely depict idyllic vistas; instead, they present environments rendered with meticulous detail yet stripped of vibrant color—a deliberate tactic designed to heighten emotional impact. The muted palette—dominated by shades of grey, ochre, and brown—mirrors the melancholic mood that pervades his compositions. Consider “Study for Banknote,” where a solitary male figure stands amidst a tranquil meadow bathed in diffused sunlight. This seemingly serene setting serves as a foil to the figure’s muscular physique and unwavering gaze, conveying a sense of resolute contemplation against the backdrop of inevitable decline. The landscape itself embodies concepts of eternity and permanence—a deliberate contrast intended to underscore the fleeting nature of human existence.

    Technique: Bold Contours and Flattened Planes

    Hodler's artistic technique was revolutionary for its time. Rejecting academic conventions that prioritized realistic representation, he championed a style rooted in expressive gesture and simplified form. He achieved this effect through the use of bold contours—thick lines delineating shapes with unwavering precision—which create an illusion of depth without resorting to traditional shading techniques. Furthermore, Hodler flattened planes—reducing dimensionality—to emphasize surface texture and heighten visual impact. This approach is particularly evident in “Figure Study,” where a simplified human form dominates the canvas, conveying emotion through subtle variations in line weight and tonal modulation. The resulting images possess an arresting immediacy that transcends mere visual observation; they invite contemplation and resonate with visceral feeling.

    Historical Context: Nietzsche’s Influence and Fin-de-Siècle Anxiety

    Hodler's artistic vision was profoundly influenced by the philosophical ideas of Friedrich Nietzsche, whose proclamation that “God is dead” shook the foundations of Western morality and ushered in an era of existential uncertainty. Nietzsche’s critique of Christian dogma resonated deeply with Hodler, who embraced nihilistic notions—the belief that life lacks inherent meaning—as a catalyst for artistic exploration. This intellectual engagement fueled his preoccupation with themes of death and decay, reflecting the pervasive anxieties of the Fin-de-Siècle—the period preceding World War I—when artists wrestled with questions of identity, purpose, and societal transformation. Hodler’s work stands as testament to this cultural moment, capturing the spirit of disillusionment yet simultaneously affirming the enduring power of human emotion.

    Emotional Resonance: Quiet Strength Amidst Decay

    Ultimately, Hodler's art transcends mere stylistic innovation; it communicates profound emotional truths—a quiet strength born from confronting mortality and embracing vulnerability. “Study for Banknote,” in particular, embodies this ethos. The figure’s unwavering gaze conveys a sense of inner resilience—a refusal to succumb to despair—despite the surrounding landscape’s suggestion of inevitable ruin. Hodler's masterful manipulation of line and tone creates an image that is both unsettling and profoundly beautiful, prompting viewers to contemplate the complexities of human experience. Like all great art, it lingers in the memory long after initial encounter, offering solace and inspiration amidst the uncertainties of life itself.

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Study of — Ferdinand Hodler Part 3 · About this artwork

    Artist and museum

    Artist

    Ferdinand Hodler

    Born in Bern, Switzerland

    A Life Etched in Symbolism: The World of Ferdinand Hodler

    Ferdinand Hodler, a name intrinsically linked to the landscape of Swiss painting and the potent language of symbolism, rose from modest beginnings to become one of the most significant artists of the late 19th and early 20th centuries. Born in Bern, Switzerland, in 1853, his life was profoundly shaped by early loss – a recurring theme that would permeate his artistic vision. The untimely deaths of his father and two younger brothers before he reached adolescence cast a long shadow, instilling within him a deep contemplation of mortality and the fleeting nature of existence. These experiences, interwoven with an acute sensitivity to the beauty and power of the natural world, became central tenets of his evolving oeuvre. Initially apprenticed to decorative painters, Hodler’s innate talent quickly transcended mere craftsmanship; he yearned for formal training and artistic exploration beyond the constraints of commercial work. This ambition led him to Geneva in 1871, where he immersed himself in study, attending science lectures alongside diligently copying masterpieces at the city's museum – a rigorous education that laid the foundation for his future innovations.

    From Realism to ‘Parallelism’: Forging a Unique Vision

    Hodler’s artistic journey was characterized by constant evolution and a relentless pursuit of expressive power. His early works reflected the prevailing realist style of the time – portraits, landscapes, and genre scenes executed with meticulous detail. However, he soon found himself constrained by these conventions, seeking a means to convey deeper emotional truths and philosophical ideas. This quest led him towards Symbolism, a movement that rejected naturalistic representation in favor of subjective experience and evocative imagery. Yet Hodler didn’t simply adopt the tenets of Symbolism; instead, he forged his own unique path, developing what he termed “parallelism.” This distinctive style involved arranging figures and forms in rhythmic, almost geometric patterns, creating a sense of both harmony and tension – a visual representation of interconnectedness. It was an attempt to depict not just what he saw, but how he felt – the underlying emotional currents that connected all things. The Night, completed in 1890, proved to be a pivotal work, marking his definitive turn towards symbolist imagery and sparking considerable controversy with its depiction of recumbent figures suggestive of death and repose. Despite initial criticism, the painting garnered attention in Paris, establishing Hodler’s reputation beyond Switzerland's borders and signaling the arrival of a truly original voice.

    Landmarks in Paint: Key Works and Their Significance

    Throughout his prolific career, Hodler produced a remarkable body of work that continues to resonate with audiences today. The Day, completed in 1893, stands as one of his most ambitious and celebrated achievements – a monumental historical painting showcasing his mastery of composition and symbolism. Housed at the Kunsthaus Zürich, this artwork is a powerful meditation on life, death, and renewal, rendered with an arresting blend of realism and visionary intensity. The sheer scale and emotional weight of The Day cemented Hodler’s position as a leading figure in European art. Other notable works include numerous depictions of the Swiss Alps, imbued with a sense of awe-inspiring grandeur, and portraits that reveal his profound understanding of human psychology. He frequently revisited themes of loss and mourning, perhaps reflecting his own childhood traumas, but always infused them with a sense of dignity and resilience. His paintings weren’t merely representations; they were emotional landscapes, inviting viewers to contemplate the fundamental questions of existence. Works like Truth II (1897) demonstrate Hodler's ability to blend classical forms with modern sensibilities, creating images that are both timeless and strikingly contemporary – a testament to his innovative spirit.

    A Lasting Legacy: Influence and Historical Context

    Ferdinand Hodler’s influence extended far beyond the borders of Switzerland. His innovative use of symbolism and his development of “parallelism” paved the way for Expressionism, with its emphasis on subjective emotion and distorted forms. Artists who followed in his footsteps recognized him as a precursor to their own explorations of inner experience. Hodler's work also resonated with broader cultural currents of the late 19th and early 20th centuries – a period marked by rapid social change, scientific advancements, and a growing sense of existential anxiety. His paintings offered a visual language for grappling with these complex issues, providing solace and insight in an increasingly uncertain world. Today, Hodler’s works are held in major museums across Europe and beyond, ensuring that his artistic vision continues to inspire and challenge generations of viewers. He remains a towering figure in Swiss art history, celebrated not only for his technical skill but also for his profound emotional depth and unwavering commitment to exploring the mysteries of the human condition.

    Exploring Hodler Further

    For an in-depth look at his life and work: Wikipedia - Ferdinand Hodler

    Discover more of his paintings at: AllPaintingsStore - Ferdinand Hodler Collection

    View The Day (1893) here: AllPaintingsStore - The Day

    Museum

    National Gallery of Bosnia and Herzegovina

    On show in Sarajevo, Bosnia and Herzegovina

    A Sanctuary of Resilience: The Soul of Sarajevo

    In the beating heart of Sarajevo, a city that has weathered the most profound storms of the twentieth century, stands the

    National Gallery of Bosnia and Herzegovina

    as a luminous testament to the enduring power of human creativity. To walk through its doors is to enter a space where the scars of history meet the triumph of the artistic spirit, offering a profound dialogue between a turbulent past and an aspirational future. It serves as a sanctuary where the collective memory of a people is preserved within the delicate strokes of paint and the heavy textures of stone. The gallery remains a crucial platform where the echoes of history meet the pulse of the present, continuing to serve as a vital organ for a nation seeking to redefine itself through beauty and cultural continuity.

    The soul of the collection lies in its remarkable ability to weave together diverse threads of identity, ranging from the sacred to the avant-garde. Collectors and art enthusiasts will find themselves captivated by the

    Ferdinand Hodler Collection

    , where the profound influence of Swiss Symbolism breathes life into landscapes that feel both deeply grounded in nature and spiritually transcendent. This ethereal quality is balanced by the robust presence of Yugoslavian Masters, whose works provide an expansive, sweeping panorama of twentieth-century trends, capturing the complex cultural shifts and the evolving identity of a region in flux. For those drawn to the weight of tradition, the gallery’s

    Icon Collection

    offers a meditative journey through Orthodox Christian heritage, showcasing the meticulous craftsmanship and devotional intensity of centuries of religious artistry.

    Architectural Elegance and Modernist Ambition

    The architecture of the museum itself serves as a physical manifestation of Sarajevo's modernist ambitions. Designed by the Czech architect

    Karel Pařík

    , the structure is a masterclass in symmetrical elegance, composed of four distinct pavilions that reflect the organized optimism of the post-war period. Each pavilion was originally intended to house specialized departments—archaeology, ethnology, and natural history—and today, this layout creates a rhythmic, exploratory experience for the visitor. The clean lines and modernist aesthetic provide a sophisticated backdrop that complements both the heavy textures of classical sculpture and the ephemeral nature of contemporary installations, making it an inspiring destination for interior designers seeking to understand the intersection of structural form and curated atmosphere.

    Beyond its permanent treasures, the institution distinguishes itself through its commitment to evolution. It remains a vibrant laboratory for what is yet to come, frequently engaging its audience through:

    Rotating photography exhibits

    that challenge modern social dynamics.

    Contemporary art installations

    that bridge the gap between global movements and local identity.

    A continuous dialogue

    between historical preservation and modern artistic expression.

    Where to read more

    Find this online

    QR code linking to the download page for Study of

    topimpressionists.com/en/art/download/ferdinand-hodler-study-of-D7SAJB-en/

    Cite this artwork

    MLA
    Hodler, Ferdinand. Study of . 1912, National Gallery of Bosnia and Herzegovina. https://topimpressionists.com/en/art/ferdinand-hodler-study-of-D7SAJB-en/
    APA
    Hodler, Ferdinand (1912). Study of [Painting]. National Gallery of Bosnia and Herzegovina. https://topimpressionists.com/en/art/ferdinand-hodler-study-of-D7SAJB-en/
    Chicago
    Ferdinand Hodler. Study of . 1912. National Gallery of Bosnia and Herzegovina. https://topimpressionists.com/en/art/ferdinand-hodler-study-of-D7SAJB-en/
    Harvard
    Hodler, Ferdinand (1912) Study of . National Gallery of Bosnia and Herzegovina. Available at: https://topimpressionists.com/en/art/ferdinand-hodler-study-of-D7SAJB-en/

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Study of — Ferdinand Hodler Part 4 · Artist and museum

    Look closely

    Study of — Ferdinand Hodler

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: baseball, athlete, landscape. Do you agree? What would you add, or take away?
    4. Look back at Landscape of the Swiss Alps (1918), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Ferdinand Hodler was about 59 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Study of — Ferdinand Hodler Part 5 · Look closely

    Art quiz

    Study of — Ferdinand Hodler

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject matter depicted in this artwork?

      • A A Landscape Scene
      • B A Portrait of a Woman
      • C A Baseball Game

    2. 2. In what year was this artwork created?

      • A A. 1890
      • B B. 1912
      • C C. 1930

    3. 3. What artistic style is characteristic of Ferdinand Hodler's work?

      • A Realism
      • B Impressionism
      • C Symbolism

    4. 4. The image shows a man playing baseball. What element contributes to the artwork’s depiction of action and intensity?

      • A Detailed shading
      • B Precise anatomical rendering
      • C Gestural brushstrokes

    5. 5. Ferdinand Hodler's life experiences profoundly influenced his artistic vision. Which factor played a significant role in shaping his creative output?

      • A Early exposure to classical music
      • B A formal education in mathematics
      • C Recurring themes of loss and mortality

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2B · 3C · 4C · 5C

    Check any answer against the catalogue record for this painting

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Study of — Ferdinand Hodler Part 6 · Art quiz

    Questions & Answers

    Does the copyright of "Study of" by Ferdinand Hodler allow reproductions?

    The copyright status of "Study of" by Ferdinand Hodler is clear: the work is in the public domain - its copyright has expired. Its presence at the National Gallery of Bosnia and Herzegovina does not change that status.

    How popular is "Study of" within Symbolic Expressionism?

    "Study of" by Ferdinand Hodler is classified as recognized and belongs to the Symbolic Expressionism movement.

    How old was Ferdinand Hodler when creating "Study of" in 1912?

    Ferdinand Hodler made "Study of" at the age of 59. The artist was born in 1853 and the work is dated 1912.