Dents du Midi from Champéry 1916

Editor: So, this drawing is titled "Dents du Midi from Champéry" by Ferdinand Hodler, created in 1916. It's a pencil drawing of a mountain range, and it feels unfinished, almost like a study. What do you see in this piece? Curator: For me, it’s not about what’s *in* the drawing, but what *makes* the drawing. This seemingly simple pencil sketch speaks volumes about the artistic process itself. Hodler, known for his symbolism, reduces these majestic mountains to a series of linear gestures. Editor: I see what you mean! It is pretty sparse. Curator: Exactly. And think about the pencil itself. What grade of graphite did Hodler use? How did its material qualities—the softness, the darkness—allow him to build up these forms? Furthermore, how was this drawing originally purposed and made, and by whom was it consumed? Was it made for himself? Or the commercial art market? The level of 'finish' indicates that it could have been an instruction drawing for his workshop employees to produce future paintings. Editor: That's fascinating! I hadn’t considered the social context. The fact that the drawing might not be the final artwork changes how I see it. Was pencil drawing even considered "art" at the time? Curator: Precisely! By focusing on the medium and process, we question those traditional hierarchies between 'high' art and craft. This isn't just a pretty picture of mountains. It's evidence of artistic labor, of material engagement. Look at the lines themselves – the pressure, the texture. Do you see evidence of revisions and changes? Editor: Now that you mention it, yes, I do see where he seems to have redrawn the line in a few spots. It almost feels like a map being made, one line at a time, building a reality. Curator: The drawing isn't just depicting mountains; it's documenting a physical and social process, isn't it? Editor: This makes me appreciate the skill that goes into such an image, which I hadn’t really thought of before! Thanks.