Paper

Student Artwork Guide

Officer calling charge

Name Class Date

Ferdinand Hodler, Officer calling charge (1908), National Gallery of Bosnia and Herzegovina. Public domain.

The facts

Artist
Ferdinand Hodler originaluniqueart.com/en/artists/ferdinand-hodler/
Artist’s dates
1853 – 1918
Painted
1908
Medium
Acrylic On Canvas
Original size
38 x 14 cm
Movement
Symbolic Expressionism
Held at
National Gallery of Bosnia and Herzegovina originaluniqueart.com/en/museums/national-gallery-of-bosnia-and-herzegovina-sarajevo/
Artistic style
Realistic
Influences
Romanticism
Notable elements or techniques
Study for "Jena 1813". Detailed rendering.
Subject or theme
Military figure

In context

Officer calling charge — Ferdinand Hodler

How big is it?

The original measures 38 × 14 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1850
  2. 1860
  3. 1870
  4. 1880
  5. 1890
  6. 1900
  7. 1910

Shaded: the lifetime of Ferdinand Hodler (1853–1918) ▲ this work, 1908

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/ferdinand-hodler-officer-calling-charge-D7S8WY-en/

Colours

Measured from the image

    Main colour

    Putty #e5e3d6

    Catalogued palette

    • #E5E3D6
    • #C1BFB2
    • #969488
    • #DDDACC
    Palette
    Monochrome The dominant colour family in the image.
    Main colour name
    Putty
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Officer calling charge — Ferdinand Hodler

    A Study in Quiet Reflection: Decoding Ferdinand Hodler’s “Officer Calling Charge”

    The drawing, titled “Jena 1813,” embodies the core tenets of Ferdinand Hodler's distinctive artistic vision—a preoccupation with mortality and a profound appreciation for the sublime beauty of nature. Executed in 1908, this composition study offers a glimpse into Hodler’s creative process as he wrestled with capturing fleeting moments of human experience against a backdrop of serene landscape. The artwork itself is deceptively simple: a solitary male figure dressed in military uniform stands rigidly upright, his gaze averted from the viewer's perspective. He holds a cup delicately in his right hand, suggesting an act of contemplation rather than immediate consumption.

    Style & Technique: Hodler’s signature style—characterized by its muted palette and flattened planes—is evident throughout “Officer Calling Charge.” Employing charcoal on paper, he achieved remarkable tonal gradation using subtle shading techniques that prioritize atmosphere over precise detail. This deliberate reduction in realism aligns perfectly with the broader Symbolist movement's rejection of academic conventions.

    Historical Context: Hodler’s work emerged during a period of significant artistic experimentation and intellectual ferment within Switzerland. The Symbolists sought to express inner emotions and spiritual truths through evocative imagery, rejecting literal representation in favor of suggestive symbolism. “Jena 1813” reflects this ethos, mirroring the broader preoccupation with themes of solitude, remembrance, and the confrontation with death—common concerns within European art at the turn of the century.

    Symbolism Beyond Surface Appearance

    The seemingly unremarkable posture of the officer is laden with symbolic significance. The averted gaze speaks to a profound introspection, hinting at an awareness of existential anxieties – a direct consequence of Hodler’s own personal tragedies. The cup itself isn't merely an object; it represents stillness and contemplation—a pause amidst the tumult of life. Furthermore, the landscape surrounding the figure—implied but not explicitly depicted—functions as a conduit for spiritual reflection. Hodler skillfully utilizes tonal harmony to convey a sense of tranquility and timelessness, mirroring the Symbolist desire to transcend the mundane and access higher realms of consciousness.

    Emotional Impact: “Officer Calling Charge” resonates with viewers on an emotional level due to its masterful portrayal of quiet melancholy. Hodler’s ability to distill complex psychological states into a single, carefully crafted image is testament to his artistic genius. The artwork invites contemplation about the human condition—the inevitability of loss and the importance of finding solace in beauty.

    Interior Design Considerations: Reproductions of “Officer Calling Charge” would lend themselves beautifully to minimalist interior spaces, particularly those emphasizing natural light and muted tones. Its understated elegance captures a mood of contemplative serenity – ideal for creating calming environments that inspire reflection.

    Hodler’s Legacy & The Enduring Appeal of Symbolism

    Ferdinand Hodler remains an artist whose work continues to captivate audiences today. His unwavering commitment to exploring the depths of human emotion and his masterful manipulation of tonal color solidified his place as a pivotal figure in Swiss art history. “Officer Calling Charge,” like much of Hodler’s oeuvre, exemplifies the enduring power of Symbolism—a movement that prioritized feeling over form and sought to communicate universal truths through evocative imagery. It serves as a poignant reminder that true artistic beauty resides not merely in visual spectacle but in its capacity to provoke introspection and illuminate the complexities of human experience.

    Artist and museum

    Artist

    Ferdinand Hodler

    Born in Bern, Switzerland

    A Life Etched in Symbolism: The World of Ferdinand Hodler

    Ferdinand Hodler, a name intrinsically linked to the landscape of Swiss painting and the potent language of symbolism, rose from modest beginnings to become one of the most significant artists of the late 19th and early 20th centuries. Born in Bern, Switzerland, in 1853, his life was profoundly shaped by early loss – a recurring theme that would permeate his artistic vision. The untimely deaths of his father and two younger brothers before he reached adolescence cast a long shadow, instilling within him a deep contemplation of mortality and the fleeting nature of existence. These experiences, interwoven with an acute sensitivity to the beauty and power of the natural world, became central tenets of his evolving oeuvre. Initially apprenticed to decorative painters, Hodler’s innate talent quickly transcended mere craftsmanship; he yearned for formal training and artistic exploration beyond the constraints of commercial work. This ambition led him to Geneva in 1871, where he immersed himself in study, attending science lectures alongside diligently copying masterpieces at the city's museum – a rigorous education that laid the foundation for his future innovations.

    From Realism to ‘Parallelism’: Forging a Unique Vision

    Hodler’s artistic journey was characterized by constant evolution and a relentless pursuit of expressive power. His early works reflected the prevailing realist style of the time – portraits, landscapes, and genre scenes executed with meticulous detail. However, he soon found himself constrained by these conventions, seeking a means to convey deeper emotional truths and philosophical ideas. This quest led him towards Symbolism, a movement that rejected naturalistic representation in favor of subjective experience and evocative imagery. Yet Hodler didn’t simply adopt the tenets of Symbolism; instead, he forged his own unique path, developing what he termed “parallelism.” This distinctive style involved arranging figures and forms in rhythmic, almost geometric patterns, creating a sense of both harmony and tension – a visual representation of interconnectedness. It was an attempt to depict not just what he saw, but how he felt – the underlying emotional currents that connected all things. The Night, completed in 1890, proved to be a pivotal work, marking his definitive turn towards symbolist imagery and sparking considerable controversy with its depiction of recumbent figures suggestive of death and repose. Despite initial criticism, the painting garnered attention in Paris, establishing Hodler’s reputation beyond Switzerland's borders and signaling the arrival of a truly original voice.

    Landmarks in Paint: Key Works and Their Significance

    Throughout his prolific career, Hodler produced a remarkable body of work that continues to resonate with audiences today. The Day, completed in 1893, stands as one of his most ambitious and celebrated achievements – a monumental historical painting showcasing his mastery of composition and symbolism. Housed at the Kunsthaus Zürich, this artwork is a powerful meditation on life, death, and renewal, rendered with an arresting blend of realism and visionary intensity. The sheer scale and emotional weight of The Day cemented Hodler’s position as a leading figure in European art. Other notable works include numerous depictions of the Swiss Alps, imbued with a sense of awe-inspiring grandeur, and portraits that reveal his profound understanding of human psychology. He frequently revisited themes of loss and mourning, perhaps reflecting his own childhood traumas, but always infused them with a sense of dignity and resilience. His paintings weren’t merely representations; they were emotional landscapes, inviting viewers to contemplate the fundamental questions of existence. Works like Truth II (1897) demonstrate Hodler's ability to blend classical forms with modern sensibilities, creating images that are both timeless and strikingly contemporary – a testament to his innovative spirit.

    A Lasting Legacy: Influence and Historical Context

    Ferdinand Hodler’s influence extended far beyond the borders of Switzerland. His innovative use of symbolism and his development of “parallelism” paved the way for Expressionism, with its emphasis on subjective emotion and distorted forms. Artists who followed in his footsteps recognized him as a precursor to their own explorations of inner experience. Hodler's work also resonated with broader cultural currents of the late 19th and early 20th centuries – a period marked by rapid social change, scientific advancements, and a growing sense of existential anxiety. His paintings offered a visual language for grappling with these complex issues, providing solace and insight in an increasingly uncertain world. Today, Hodler’s works are held in major museums across Europe and beyond, ensuring that his artistic vision continues to inspire and challenge generations of viewers. He remains a towering figure in Swiss art history, celebrated not only for his technical skill but also for his profound emotional depth and unwavering commitment to exploring the mysteries of the human condition.

    Exploring Hodler Further

    For an in-depth look at his life and work: Wikipedia - Ferdinand Hodler

    Discover more of his paintings at: AllPaintingsStore - Ferdinand Hodler Collection

    View The Day (1893) here: AllPaintingsStore - The Day

    Museum

    National Gallery of Bosnia and Herzegovina

    On show in Sarajevo, Bosnia and Herzegovina

    A Sanctuary of Resilience: The Soul of Sarajevo

    In the beating heart of Sarajevo, a city that has weathered the most profound storms of the twentieth century, stands the National Gallery of Bosnia and Herzegovina as a luminous testament to the enduring power of human creativity. Established in 1946 during the transformative era of post-war reconstruction, the gallery was conceived not merely as a storehouse for relics, but as a vital organ for a nation seeking to redefine itself through beauty and cultural continuity. To walk through its doors is to enter a space where the scars of history meet the triumph of the artistic spirit, offering a profound dialogue between a turbulent past and an aspirational future. It serves as a sanctuary where the collective memory of a people is preserved within the delicate strokes of paint and the heavy textures of stone.

    The soul of the collection lies in its remarkable ability to weave together diverse threads of identity, ranging from the sacred to the avant-garde. Collectors and art enthusiasts will find themselves captivated by the

    Ferdinand Hodler Collection

    , where the profound influence of Swiss Symbolism breathes life into landscapes that feel both deeply grounded in nature and spiritually transcendent. This ethereal quality is balanced by the robust presence of Yugoslavian Masters, whose works provide an expansive, sweeping panorama of twentieth-century trends, capturing the complex cultural shifts and the evolving identity of a region in flux. For those drawn to the weight of tradition, the gallery’s

    Icon Collection

    offers a meditative journey through Orthodox Christian heritage, showcasing the meticulous craftsmanship and devotional intensity of centuries of religious artistry.

    The architecture of the museum itself serves as a physical manifestation of Sarajevo's modernist ambitions. Designed by the Czech architect Karel Pařík, the structure is a masterclass in symmetrical elegance, composed of four distinct pavilions that reflect the organized optimism of the post-war period. Each pavilion was originally intended to house specialized departments—archaeology, ethnology, and natural history—and today, this layout creates a rhythmic, exploratory experience for the visitor. The clean lines and modernist aesthetic provide a sophisticated backdrop that complements both the heavy textures of classical sculpture and the ephemeral nature of contemporary installations, making it an inspiring destination for interior designers seeking to understand the intersection of structural form and curated atmosphere.

    What truly distinguishes the National Gallery is its role as a living, breathing entity rather than a static monument. It remains a crucial platform where the echoes of history meet the pulse of the present. Through rotating photography exhibits and contemporary art installations, the gallery continuously challenges its audience to engage with modern social dynamics and global artistic movements. This commitment to evolution ensures that the museum is not just a repository of what has been, but a vibrant laboratory for what is yet to come. For the discerning visitor, the National Gallery of Bosnia and Herzegovina offers more than an exhibition; it offers an intimate encounter with the very essence of Bosnian resilience and the timeless allure of the artistic soul.

    Where to read more

    Find this online

    QR code linking to the download page for Officer calling charge

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    Cite this artwork

    MLA
    Hodler, Ferdinand. Officer calling charge. 1908, National Gallery of Bosnia and Herzegovina. https://originaluniqueart.com/en/art/ferdinand-hodler-officer-calling-charge-D7S8WY-en/
    APA
    Hodler, Ferdinand (1908). Officer calling charge [Painting]. National Gallery of Bosnia and Herzegovina. https://originaluniqueart.com/en/art/ferdinand-hodler-officer-calling-charge-D7S8WY-en/
    Chicago
    Ferdinand Hodler. Officer calling charge. 1908. National Gallery of Bosnia and Herzegovina. https://originaluniqueart.com/en/art/ferdinand-hodler-officer-calling-charge-D7S8WY-en/
    Harvard
    Hodler, Ferdinand (1908) Officer calling charge. National Gallery of Bosnia and Herzegovina. Available at: https://originaluniqueart.com/en/art/ferdinand-hodler-officer-calling-charge-D7S8WY-en/

    Look closely

    Officer calling charge — Ferdinand Hodler

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: military figure, drinking gesture, landscape study. Do you agree? What would you add, or take away?
    4. Look back at Landscape of the Swiss Alps (1918), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Ferdinand Hodler was about 55 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.