Self-portrait in Paris 1891

Here we see Ferdinand Hodler’s “Self-portrait in Paris,” a graphite drawing of modest scale, which presents a compelling study of form and self-perception. The meticulous use of graphite creates a play of light and shadow, endowing the portrait with a striking immediacy. Hodler's gaze confronts the viewer with an unflinching intensity, framed by the wildness of his hair and beard. The composition, tightly cropped, focuses attention on the face, every line etched with purpose. We see Hodler deploying a semiotic system of signs through the very materiality of the drawing. The dense, almost turbulent strokes that define his features contrast sharply with the smoother areas, creating a dynamic tension. This self-portrait is not merely a representation of physical likeness; it is an exploration of the self, questioning the boundaries between the external and internal, the seen and the unseen. The very act of drawing, with its inherent linearity and emphasis on form, becomes a philosophical inquiry into the nature of identity and representation.