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Ferdinand Hodler, The Sick Valentine Godé-Darel, 1914, oil on canvas,18 1/2 x 15 3/4".

New York

“Ferdinand Hodler: View to Infinity”

Neue Galerie New York
1048 Fifth Avenue
September 20 - January 7

Curated by Jill Lloyd and Ulf Küster

The work of Ferdinand Hodler (1853–1918) embodies fin de siècle contradictions like that of few other painters. Fluidly mixing Symbolism, Art Nouveau, Expressionism, and naturalism, Hodler’s style offered an international vocabulary that also revealed a deep attachment to his native Switzerland. His paintings illustrate the alienation of the individual under the modern collective order, with figures frozen in haunting landscapes and rigidly parallel groupings. This fall, the Neue Galerie will mount the largest Hodler retrospective ever assembled in this country, comprising eighty-five of his works—paintings and drawings made between 1889 and 1918—and augmented by photographs of the artist taken by Gertrud Dübi-Müller, furniture designed by Josef Hoffmann for Hodler’s apartment, and a catalogue with essays by Ulf Küster and Jill Lloyd (the show’s curators), Oskar Bätschmann, Alessandra Comini, Sharon Hirsh, Paul Müller, and Peter Pfrunder.