{"id":5796,"date":"2026-02-09T08:30:54","date_gmt":"2026-02-09T07:30:54","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5796"},"modified":"2026-06-10T21:11:22","modified_gmt":"2026-06-10T19:11:22","slug":"hodler-et-la-modernite-suisse","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/hodler-et-la-modernite-suisse\/","title":{"rendered":"Le Suisse Ferdinand Hodler au Palais Lumi\u00e8re d\u2019\u00c9vian"},"content":{"rendered":"

Le Palais Lumi\u00e8re d\u2019\u00c9vian accueille l\u2019exposition \u00ab Modernit\u00e9 suisse : l\u2019h\u00e9ritage de Hodler \u00bb. Face au lac L\u00e9man, Les Heures Saintes<\/em> (1911) de Ferdinand Hodler dialoguent avec plus de 140 \u0153uvres d\u2019artistes suisses. L\u2019empreinte du peintre sur la modernit\u00e9 helv\u00e9tique y est d\u00e9montr\u00e9e. Entre filiation assum\u00e9e et volont\u00e9 de rupture. Jusqu’au 17 mai 2026.<\/strong><\/p>\n

\"\"
Autoportrait (1912), Ferdinand Hodler<\/figcaption><\/figure>\n

Aux sources du parall\u00e9lisme<\/h3>\n

Dans la p\u00e9nombre matinale de son atelier genevois, au 89 rue du Rh\u00f4ne, en 1911, Ferdinand Hodler (1853-1918) \u00e9labore Les Heures Saintes<\/em>. Loin des avant-gardes parisiennes, le peintre suisse travaille dans une atmosph\u00e8re satur\u00e9e de t\u00e9r\u00e9benthine et de pigments. V\u00eatues de tuniques bleues, les figures s\u2019inscrivent dans une r\u00e9p\u00e9tition silencieuse. Le peintre de 58 ans ne cherche pas \u00e0 fragmenter le r\u00e9el mais \u00e0 en r\u00e9v\u00e9ler l\u2019ordre profond. Cette qu\u00eate, qu\u2019il nomme \u00ab parall\u00e9lisme \u00bb, repose sur la conviction que la nature est structur\u00e9e par des rythmes, des sym\u00e9tries et des correspondances. Hodler est en phase avec la vision de l’Allemand Leibniz et de son id\u00e9e d\u2019harmonie pr\u00e9\u00e9tablie. Sa philosophie : chaque \u00e9l\u00e9ment du monde participe d\u2019un tout ordonn\u00e9.<\/p>\n

\"\"
Heures saintes (1911), Ferdinand Hodler<\/figcaption><\/figure>\n

Eloge de la femme symboliste<\/h3>\n

Les Heures Saintes<\/em> ne rel\u00e8vent pas d\u2019une commande officielle, contrairement aux grandes fresques historiques r\u00e9alis\u00e9es pour les institutions suisses. Il s\u2019agit d\u2019une \u0153uvre de conviction, presque obsessionnelle. En multipliant les versions, il ne cherche pas la variation d\u00e9corative mais l\u2019\u00e9puisement du motif. Son espoir ? Atteindre cette \u00ab unit\u00e9 de sentiment \u00bb qu\u2019il juge essentielle. L\u2019exposition restitue avec justesse cette dimension int\u00e9rieure, montrant comment cette \u0153uvre charni\u00e8re irrigue la r\u00e9flexion des artistes suisses confront\u00e9s, eux aussi, \u00e0 la tension entre symbolisme, abstraction naissante et ancrage dans le r\u00e9el.<\/p>\n

La loi secr\u00e8te des montagnes<\/h3>\n

“Ce que je peins n\u2019est pas un paysage, mais la loi secr\u00e8te des lacs, des montagnes et des hommes qui leur ressemblent.” confie Hodler. En 1911, le cubisme analytique de Picasso et de Braque pulv\u00e9rise la perspective. A la m\u00eame \u00e9poque, les Futuristes italiens exaltent la vitesse, la machine et la destruction du pass\u00e9. Kandinsky vient de publier “Du spirituel dans l\u2019art”, ouvrant la voie \u00e0 l\u2019abstraction. Hodler, lui, poursuit une voie solitaire. Vers une simplification formelle tourn\u00e9e vers l\u2019\u00e9ternit\u00e9 des paysages alpins. Cette position de \u00ab g\u00e9ant isol\u00e9 \u00bb, \u00e0 la fois dernier classique et premier moderne suisse, est au c\u0153ur du propos curatorial.<\/p>\n

\"\"
Vue de l’exposition : au premier plan, le Pont de Wiesen (1926) de Kirchner et dans la derni\u00e8re salle, La Tailleuse de soupe de (1933) de Barraud.<\/figcaption><\/figure>\n

Une sc\u00e8ne suisse plurielle<\/h3>\n

Les peintres Eug\u00e8ne Burnand et Gustave Jeanneret incarnent d\u2019autres r\u00e9ponses possibles \u00e0 la question du \u00ab caract\u00e8re suisse \u00bb. Face au symbolisme tendu et parfois violent de Hodler, Burnand oppose un naturalisme laborieux. Leurs \u0153uvres dialoguent \u00e0 distance. Au Guerrier furieux<\/em> r\u00e9pond la figure paysanne du Faucheur. Le <\/em>Taureau fribourgeois<\/em> fait \u00e9cho au Taureau dans les Alpes<\/em>. Ce jeu de confrontations \u00e9claire la pluralit\u00e9 des voies emprunt\u00e9es par les artistes suisses pour penser la nature, th\u00e8me central du parcours. D\u2019Oscar Luthy et son Requiem dans les Alpes<\/em> (1909) \u00e0 la gravure solennelle d\u2019\u00c9douard Vallet (L\u2019Enfant mort<\/em>, 1914), jusqu\u2019au Pont de Wiesen<\/em> (1926) de l’Expressionniste Kirchner. L\u2019exposition montre comment l\u2019h\u00e9ritage de Ferdinand Hodler se transmet dans un monde en profonde mutation.<\/p>\n

Hodler, figure de proue<\/h3>\n

La c\u00e9l\u00e9bration du centenaire de sa mort en 2018 a jou\u00e9 un r\u00f4le d\u00e9cisif dans sa red\u00e9couverte. Sa force cr\u00e9atrice, son sens du d\u00e9cor, sa peinture volontairement simplifi\u00e9e le rapprochent de figures majeures telles que Puvis de Chavannes (1824-1898) et Auguste Rodin (1840-1917), auxquels il est alors fr\u00e9quemment compar\u00e9. Si la France continue de le consid\u00e9rer comme un artiste p\u00e9riph\u00e9rique, la Suisse en fait son peintre national, tandis que l\u2019Allemagne et l\u2019Autriche le reconnaissent comme l\u2019un des fondateurs de l\u2019art moderne. L\u2019exposition d\u2019\u00c9vian s\u2019inscrit clairement dans cette dynamique de r\u00e9\u00e9valuation, en rappelant que l\u2019\u0153uvre de Ferdinand Hodler ne rel\u00e8ve ni d\u2019une singularit\u00e9 isol\u00e9e ni d\u2019un h\u00e9ritage strictement national, mais d\u2019un moment cl\u00e9 de la modernit\u00e9 europ\u00e9enne.<\/p>\n

\"\"<\/a>INFOS PRATIQUES<\/strong> PALAIS LUMIERE<\/a>
\nCommissaires d\u2019exposition : Pierre Alain Crettenand et Christophe Flubacher
\nConseiller artistique du Palais Lumi\u00e8re : William Saad\u00e9
\nSc\u00e9nographie : Julia Dessirier
\nConception graphique : Nicolas Turki Duchesnay
\nAffiche : Ferdinand Hodler, Le B\u00fbcheron<\/em>, 1910. Mus\u00e9e d\u2019Orsay, Paris. \u00a9 GrandPalaisRMN. Mus\u00e9e d\u2019Orsay \/ G\u00e9rard Blot<\/p>\n","protected":false},"excerpt":{"rendered":"

Le Palais Lumi\u00e8re d\u2019\u00c9vian accueille l\u2019exposition \u00ab Modernit\u00e9 suisse : l\u2019h\u00e9ritage de Hodler \u00bb. Face au lac L\u00e9man, Les Heures Saintes (1911) de Ferdinand Hodler dialoguent avec plus de 140 \u0153uvres d\u2019artistes suisses. L\u2019empreinte du peintre sur la modernit\u00e9 helv\u00e9tique y est d\u00e9montr\u00e9e. Entre filiation assum\u00e9e et volont\u00e9 de rupture. Jusqu’au 17 mai 2026. Aux […]<\/p>\n","protected":false},"author":1,"featured_media":5797,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1163],"tags":[1260,1323],"class_list":["post-5796","post","type-post","status-publish","format-standard","has-post-thumbnail","category-exposition","tag-art-nouveau","tag-belle-epoque"],"yoast_head":"\nLe Suisse Ferdinand Hodler au Palais Lumi\u00e8re d\u2019\u00c9vian - GREAT-ARTMAG<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/hodler-et-la-modernite-suisse\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le Suisse Ferdinand Hodler au Palais Lumi\u00e8re d\u2019\u00c9vian - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"Le Palais Lumi\u00e8re d\u2019\u00c9vian accueille l\u2019exposition \u00ab Modernit\u00e9 suisse : l\u2019h\u00e9ritage de Hodler \u00bb. Face au lac L\u00e9man, Les Heures Saintes (1911) de Ferdinand Hodler dialoguent avec plus de 140 \u0153uvres d\u2019artistes suisses. L\u2019empreinte du peintre sur la modernit\u00e9 helv\u00e9tique y est d\u00e9montr\u00e9e. Entre filiation assum\u00e9e et volont\u00e9 de rupture. Jusqu’au 17 mai 2026. 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