Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Gebet in der Kathedrale Saint Pierre in Genf – Ferdinand Hodler
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
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Beschreibung
Eine Studie der Genfer Kathedrale St. Peter, die die feierliche Atmosphäre eines protestantischen Gottesdienstes durch architektonische Präzision und gedeckte Töne einfängt.
Ferdinand Hodler, eine zentrale Figur der Schweizer Kunst um die Jahrhundertwende, schuf diese Innenstudie der Kathedrale St. Peter in Genf in einer Zeit, in der er sich vom strengen Realismus hin zu einer strukturierteren, symbolischen Herangehensweise entwickelte. Die Komposition fängt die strenge Atmosphäre der protestantischen Kathedrale ein, wobei der Fokus auf dem Zusammenspiel zwischen der architektonischen Geometrie der gotischen Bögen und den zum Gottesdienst versammelten menschlichen Figuren liegt. Das Gemälde zeigt einen Prediger, der hoch oben auf der reich verzierten Holzkanzel über der Gemeinde thront. Die darunter befindlichen Figuren sind mit einer gewissen Stille wiedergegeben, ihre Haltungen spiegeln die Feierlichkeit der Umgebung wider. Hodler verwendet eine gedämpfte Palette, die von erdigen Brauntönen, Ockern und den dunklen Tönen der Kleidung der Gläubigen dominiert wird, was mit den blassen, vertikalen Linien der Steinsäulen kontrastiert. Das durch die Fenster einfallende Licht sorgt für eine subtile Beleuchtung, die den Blick in die Tiefe der Apsis lenkt. Im Gegensatz zu seinen späteren, starreren Kompositionen, die Symmetrie und Parallelismus betonten, bewahrt dieses Werk ein gewisses Maß an Spontaneität im Pinselstrich. Es dokumentiert den spezifischen architektonischen Charakter der Kathedrale, die als Heimkirche von Johannes Calvin diente. Hodler gelingt es, die physische Größe des Gebäudes mit der individuellen Präsenz der Gläubigen in Einklang zu bringen. Das Werk bietet einen Einblick in das soziale und religiöse Leben Genfs im späten 19. Jahrhundert, dargestellt durch die Linse eines Künstlers, der sich zunehmend für die Beziehung zwischen menschlicher Existenz und den von uns bewohnten Räumen interessierte. Der Fokus liegt weiterhin auf dem strukturellen Rhythmus des Innenraums, wo die Wiederholung der Bögen ein Gefühl von Ordnung und Stille erzeugt.
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Gebet in der Kathedrale Saint Pierre in Genf – Ferdinand Hodler
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Ferdinand Hodler
Hodler lost his father and two younger brothers to tuberculosis before he was eight. His mother remarried a decorative painter named Gottlieb Schupbach, who had five children of his own. The household grew to thirteen. Young Ferdinand learned to paint by helping his stepfather with sign-work and decorative commissions, which is practical training of the kind that art schools cannot replicate.
He studied under Barthelemy Menn in Geneva, absorbing influences from Courbet and Holbein that seem contradictory but make sense in his work: physical realism combined with formal symmetry. By the 1890s he had developed Parallelism, a system of compositional repetition where figures, gestures and landscape elements mirror each other across the canvas. He described it as an element of order inherent in nature, visible in reflections on water, in the symmetry of the human body, in the repetition of mountain forms.
The Swiss National Bank commissioned him in 1908 to design currency. Rather than portraits of statesmen, he chose a woodcutter for the 50-franc note and a reaper for the 100-franc note. Both entered circulation in 1911. His figures occupy Swiss banknotes the way his figures occupy his paintings: monumental, frontal, and slightly too symmetrical to be comfortable.
His son Hector founded the World Esperanto Association in 1908, which is a detail that belongs in the biography of any artist whose life's work concerned the search for universal order. Hodler was Switzerland's first modern painter, and the one who proved you could stay in Switzerland and still matter. He died in Geneva in 1918, having painted the view of Lake Geneva from his window every day during his final illness. The series of paintings recording the changing light over the lake is among his most moving work.
He studied under Barthelemy Menn in Geneva, absorbing influences from Courbet and Holbein that seem contradictory but make sense in his work: physical realism combined with formal symmetry. By the 1890s he had developed Parallelism, a system of compositional repetition where figures, gestures and landscape elements mirror each other across the canvas. He described it as an element of order inherent in nature, visible in reflections on water, in the symmetry of the human body, in the repetition of mountain forms.
The Swiss National Bank commissioned him in 1908 to design currency. Rather than portraits of statesmen, he chose a woodcutter for the 50-franc note and a reaper for the 100-franc note. Both entered circulation in 1911. His figures occupy Swiss banknotes the way his figures occupy his paintings: monumental, frontal, and slightly too symmetrical to be comfortable.
His son Hector founded the World Esperanto Association in 1908, which is a detail that belongs in the biography of any artist whose life's work concerned the search for universal order. Hodler was Switzerland's first modern painter, and the one who proved you could stay in Switzerland and still matter. He died in Geneva in 1918, having painted the view of Lake Geneva from his window every day during his final illness. The series of paintings recording the changing light over the lake is among his most moving work.
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- Rahmen in Schwarz, Naturholz, dunklem Holz oder Weiß
- Gerahmte Drucke werden fertig zum Aufhängen geliefert
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Damit Ihr Kunstwerk optimal aussieht:
- Vorsichtig mit einem weichen, trockenen Tuch abstauben
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- Niemals flüssige Reiniger auf Druck- oder Leinwandoberflächen verwenden
- An einem trockenen Ort bei Raumtemperatur aufbewahren
- Drucke mit sauberen, trockenen Händen anfassen
Material & Größe
Museums-Giclée-Druck auf FSC-zertifiziertem, archivbeständigem, mattem Papier, wahlweise mit Rahmen oder als Leinwand.
- Papierformate: A4, A3, A2, A1, A0 und B2 (50×70 cm)
- Leinwand: XS (20×30 cm) bis Large (60×90 cm)
- Rahmen: Schwarz, Naturholz, dunkles Holz oder Weiß
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Premium Box Frame
From £85
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From £30
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From £135
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
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Biografie des Künstlers
Ferdinand Hodler
Hodler lost his father and two younger brothers to tuberculosis before he was eight. His mother remarried a decorative painter named Gottlieb Schupbach, who had five children of his own. The household grew to thirteen. Young Ferdinand learned to paint by helping his stepfather with sign-work and decorative commissions, which is practical training of the kind that art schools cannot replicate.
He studied under Barthelemy Menn in Geneva, absorbing influences from Courbet and Holbein that seem contradictory but make sense in his work: physical realism combined with formal symmetry. By the 1890s he had developed Parallelism, a system of compositional repetition where figures, gestures and landscape elements mirror each other across the canvas. He described it as an element of order inherent in nature, visible in reflections on water, in the symmetry of the human body, in the repetition of mountain forms.
The Swiss National Bank commissioned him in 1908 to design currency. Rather than portraits of statesmen, he chose a woodcutter for the 50-franc note and a reaper for the 100-franc note. Both entered circulation in 1911. His figures occupy Swiss banknotes the way his figures occupy his paintings: monumental, frontal, and slightly too symmetrical to be comfortable.
His son Hector founded the World Esperanto Association in 1908, which is a detail that belongs in the biography of any artist whose life's work concerned the search for universal order. Hodler was Switzerland's first modern painter, and the one who proved you could stay in Switzerland and still matter. He died in Geneva in 1918, having painted the view of Lake Geneva from his window every day during his final illness. The series of paintings recording the changing light over the lake is among his most moving work.
He studied under Barthelemy Menn in Geneva, absorbing influences from Courbet and Holbein that seem contradictory but make sense in his work: physical realism combined with formal symmetry. By the 1890s he had developed Parallelism, a system of compositional repetition where figures, gestures and landscape elements mirror each other across the canvas. He described it as an element of order inherent in nature, visible in reflections on water, in the symmetry of the human body, in the repetition of mountain forms.
The Swiss National Bank commissioned him in 1908 to design currency. Rather than portraits of statesmen, he chose a woodcutter for the 50-franc note and a reaper for the 100-franc note. Both entered circulation in 1911. His figures occupy Swiss banknotes the way his figures occupy his paintings: monumental, frontal, and slightly too symmetrical to be comfortable.
His son Hector founded the World Esperanto Association in 1908, which is a detail that belongs in the biography of any artist whose life's work concerned the search for universal order. Hodler was Switzerland's first modern painter, and the one who proved you could stay in Switzerland and still matter. He died in Geneva in 1918, having painted the view of Lake Geneva from his window every day during his final illness. The series of paintings recording the changing light over the lake is among his most moving work.
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