作为 2022-11-10 11:03:47

Ferdinand Hodler

Lot 24
Kastanienallee bei Biberist, 1898
Oil on canvas

38 x 55 cm

Lot 24
Kastanienallee bei Biberist, 1898
Oil on canvas
38,0 x 55,0 cm

估计:
€ 1.400.000 - 1.800.000
拍卖: -476 天

Ketterer Kunst GmbH & Co KG

城市: Munich
拍卖: 09.12.2022
拍卖编号: 535
拍卖名称: Evening Sale and Collection Hermann Gerlinger

拍品信息
The autumnal motif of young, soon defoliating chestnut trees in front of a light blue sky streaked with white fog above the chestnut alley near Biberist is captured in strong colors and a free, yet delicate brushwork. In the background of the painting we see the Jura chain in the surroundings of Solothurn. Not only the motif, but also the dedication at the bottom of the picture "A mon Ami Monsieur Oscar Miller" suggests that the painting of the chestnut alley near Biberist was probably made in connection with a visit of the artist at the collector in Biberist, a municipality not far from Solothurn. Important changes in Hodler's landscape painting can be identified around 1890, a result of extensive landscape studies in, for example, the Salève area. First of all, it is the stronger color palette, but above all it is the division of the motifs into horizontal parallels, the idea of dividing nature into parallel layers, and the use of reflections, important creative elements that give his works the clear structure that is so characteristic of Hodler. The artist proceeded empirically, intensively studying, for example, the effects daylight has on the landscape and how the colors change with the seasons. Although quite related, a symbolically charged interpretation of nature, as is the case in the painting "Herbstabend“ (Autumn Evening) (fig.), takes a back seat in the present “Kastanienallee" (Chestnut Alley). Instead Hodler seeks the right point of view in a right angle to what he sees, as if looking through the viewfinder of a camera. These parallel horizontal landscape lines with meadows, rows of houses, the Jura mountain range under a moving sky that disappear in the background, and the vertical elements, like the six trees here, form a symmetrically arranged composition. The tree, at times rendered like a portrait, as is the case with the small sycamore tree in the midst of a vast landscape (fig.), plays an essential role in Hodler's work: he uses it to identify his own existence on the one hand, and as a purely formal and stylistic device on the other. An artistic intervention to bring order to nature and civilization. The tree, both as a symbolic and a formal motif, orderly arranges this composition. In contrast to the soft colors of the "paysages intimes", the plain landscape paintings of his early period, Hodler used a stronger and clearer color palette towards the end of the century. Hodler makes foreground and background appear equal through rich tonal values, thus also neglecting aerial perspective. With the strict order, the already more mature artist discovered an additional means of representation for his symmetrical compositional scheme, the parallelism between a close foreground and an equally flat middle ground, above which the veil clouds shift freely in the sky. Provenance Oscar Miller (1862-1934), director of the Biberist paper mill, began to compile an important collection of contemporary art at the end of the 19th century with works by, among others, Amiet, Buchser, Hodler, Kirchner and Vallotton. Miller also published numerous art critical texts in which he discussed his art collection as well as contemporary art in Switzerland. In November 1897, Miller acquired his first painting by Ferdinand Hodler, the "Anbetung“ (Adoration) from 1894, a work that the Gottfried Keller Foundation loans to the Museo Cantonale d'Arte Lugano today. In a letter from November 11, 1897, the artist thanked Oscar Miller for his purchase: "I was very pleased that you and Mrs. Miller liked the painting 'Anbetung' so much. [...] I am also pleased that it is in your possession, a painting in your hands is like a child that is well cared for". Miller acquired about twenty paintings by the artist, most of them before 1900. "A few of our acquaintances know how much I valued simplicity even before our ‘Hodler era’. And yet, it was only through Hodler that it became accessible to me. Through his pictures and through his personality", describes Miller's enthusiasm for the art of Ferdinand Hodler. (Oscar Miller, Wie ich zu meinen Bildern kam und was sie mir sagen, 1903). More than ten years later, he offered the Gottfried Keller Foundation 14 of the 15 paintings by Ferdinand Hodler in his possession for acquisition. Presumably, the one work Miller wanted to keep for himself was the present "Kastanienallee" near Biberist, especially because it was the only Hodler work in Miller's possession that the artist inscribed with a dedication. A large part of Oskar Miller's collection is now in the Solothurn Art Museum, while "Kastanienallee bei Biberist" remained hidden in a private collection until 2012. [MvL]
Collection Oscar Miller, Biberist (since 1898, obtained from the artist). Private collection Switzerland (inherited from the above, until 2012: Christie’s, September 24, 2012) Private collection (acquired from the above in 2012)
Condition report on request katalogisierung@kettererkunst.de
Oil on canvas.
Bätschmann/ Müller 266. Loosli 2352. Signed, dated and dedicated "A mon Amie Monsieur Oscar Miller" in lower right. 38 x 55 cm. . [SM].

• Ferdinand Hodler is the most popular Swiss artist, and, next to Paul Cézanne, Vincent van Gogh or Edvard Munch, and a key figure of Modern Art.
• Early key work in which Hodler introduced horizontal and parallel structures in his landscape painting.
• Notable provenance - Oscar Miller was one of the most important collectors of Swiss Modernism.
• Main work in the Collection Miller, with a personal dedication and family-owned for more than 100 years.
LITERATURE: Paul Müller: Parallelismus. Hodlers programmatischer Anspruch, in: outlines, ed. Schweizerisches Institut für Kunstwissenschaft, vol. IV, Zürich 2009, p. 112 (with illu.). Christie's, Zürich, September 24, 2012, lot 203.
Lot Details
The autumnal motif of young, soon defoliating chestnut trees in front of a light blue sky streaked with white fog above the chestnut alley near Biberist is captured in strong colors and a free, yet delicate brushwork. In the background of the painting we see the Jura chain in the surroundings of Solothurn. Not only the motif, but also the dedication at the bottom of the picture "A mon Ami Monsieur Oscar Miller" suggests that the painting of the chestnut alley near Biberist was probably made in connection with a visit of the artist at the collector in Biberist, a municipality not far from Solothurn. Important changes in Hodler's landscape painting can be identified around 1890, a result of extensive landscape studies in, for example, the Salève area. First of all, it is the stronger color palette, but above all it is the division of the motifs into horizontal parallels, the idea of dividing nature into parallel layers, and the use of reflections, important creative elements that give his works the clear structure that is so characteristic of Hodler. The artist proceeded empirically, intensively studying, for example, the effects daylight has on the landscape and how the colors change with the seasons. Although quite related, a symbolically charged interpretation of nature, as is the case in the painting "Herbstabend“ (Autumn Evening) (fig.), takes a back seat in the present “Kastanienallee" (Chestnut Alley). Instead Hodler seeks the right point of view in a right angle to what he sees, as if looking through the viewfinder of a camera. These parallel horizontal landscape lines with meadows, rows of houses, the Jura mountain range under a moving sky that disappear in the background, and the vertical elements, like the six trees here, form a symmetrically arranged composition. The tree, at times rendered like a portrait, as is the case with the small sycamore tree in the midst of a vast landscape (fig.), plays an essential role in Hodler's work: he uses it to identify his own existence on the one hand, and as a purely formal and stylistic device on the other. An artistic intervention to bring order to nature and civilization. The tree, both as a symbolic and a formal motif, orderly arranges this composition. In contrast to the soft colors of the "paysages intimes", the plain landscape paintings of his early period, Hodler used a stronger and clearer color palette towards the end of the century. Hodler makes foreground and background appear equal through rich tonal values, thus also neglecting aerial perspective. With the strict order, the already more mature artist discovered an additional means of representation for his symmetrical compositional scheme, the parallelism between a close foreground and an equally flat middle ground, above which the veil clouds shift freely in the sky. Provenance Oscar Miller (1862-1934), director of the Biberist paper mill, began to compile an important collection of contemporary art at the end of the 19th century with works by, among others, Amiet, Buchser, Hodler, Kirchner and Vallotton. Miller also published numerous art critical texts in which he discussed his art collection as well as contemporary art in Switzerland. In November 1897, Miller acquired his first painting by Ferdinand Hodler, the "Anbetung“ (Adoration) from 1894, a work that the Gottfried Keller Foundation loans to the Museo Cantonale d'Arte Lugano today. In a letter from November 11, 1897, the artist thanked Oscar Miller for his purchase: "I was very pleased that you and Mrs. Miller liked the painting 'Anbetung' so much. [...] I am also pleased that it is in your possession, a painting in your hands is like a child that is well cared for". Miller acquired about twenty paintings by the artist, most of them before 1900. "A few of our acquaintances know how much I valued simplicity even before our ‘Hodler era’. And yet, it was only through Hodler that it became accessible to me. Through his pictures and through his personality", describes Miller's enthusiasm for the art of Ferdinand Hodler. (Oscar Miller, Wie ich zu meinen Bildern kam und was sie mir sagen, 1903). More than ten years later, he offered the Gottfried Keller Foundation 14 of the 15 paintings by Ferdinand Hodler in his possession for acquisition. Presumably, the one work Miller wanted to keep for himself was the present "Kastanienallee" near Biberist, especially because it was the only Hodler work in Miller's possession that the artist inscribed with a dedication. A large part of Oskar Miller's collection is now in the Solothurn Art Museum, while "Kastanienallee bei Biberist" remained hidden in a private collection until 2012. [MvL]
Collection Oscar Miller, Biberist (since 1898, obtained from the artist). Private collection Switzerland (inherited from the above, until 2012: Christie’s, September 24, 2012) Private collection (acquired from the above in 2012)
Condition report on request katalogisierung@kettererkunst.de
Oil on canvas.
Bätschmann/ Müller 266. Loosli 2352. Signed, dated and dedicated "A mon Amie Monsieur Oscar Miller" in lower right. 38 x 55 cm. . [SM].

• Ferdinand Hodler is the most popular Swiss artist, and, next to Paul Cézanne, Vincent van Gogh or Edvard Munch, and a key figure of Modern Art.
• Early key work in which Hodler introduced horizontal and parallel structures in his landscape painting.
• Notable provenance - Oscar Miller was one of the most important collectors of Swiss Modernism.
• Main work in the Collection Miller, with a personal dedication and family-owned for more than 100 years.
LITERATURE: Paul Müller: Parallelismus. Hodlers programmatischer Anspruch, in: outlines, ed. Schweizerisches Institut für Kunstwissenschaft, vol. IV, Zürich 2009, p. 112 (with illu.). Christie's, Zürich, September 24, 2012, lot 203.

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