Self-portrait 1916

Editor: Here we have Ferdinand Hodler's "Self-portrait," created in 1916 using pencil. There’s a striking vulnerability in the subject's gaze. What's your interpretation of this piece? Curator: It's interesting to consider Hodler’s self-portrait within the context of his time. 1916, during the height of World War I, was a period marked by intense societal upheaval. Hodler, as a Swiss artist, remained neutral, but surely, he wasn't immune to the conflict's impact. Do you see that mirrored in the intensity you mentioned? Editor: I hadn't explicitly connected it to World War I, but the raw emotion and unfiltered presentation certainly feel related to a sense of collective distress. I wonder, did Hodler intend for it to be viewed as a symbol of the era? Curator: It’s likely less about explicit symbolism and more about the inherent relationship between artist and historical moment. Hodler's stark realism strips away the romanticism often found in earlier self-portraits. Instead, we’re faced with a deeply personal reflection amidst global chaos. It also challenges the idealised male identity promoted by nationalist narratives dominant at that time. Editor: That's a compelling point. By portraying himself so unvarnished, he subtly resists those dominant narratives, doesn’t he? Curator: Precisely. The act of revealing vulnerability becomes a quiet act of defiance, challenging the conventional macho hero image. How does understanding this social background impact your perception of the work? Editor: It certainly adds layers. What I initially saw as simple vulnerability, I now see as a kind of radical honesty, a statement against the grain. Curator: Exactly. Understanding the historical backdrop gives Hodler’s expression a potent voice. Editor: This has been so interesting. Thanks to our chat, I’m noticing a resistance within this modern, realistic, self-portrait drawing.