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拍品专文
Die Zusammenarbeit zwischen Ferdinand Hodler und Letizia Raviola (1899-1955) kam aufgrund einer Annonce zustande. Sie arbeite bei Hodler als Modell für Blick in die Unendlichkeit und Schreitender weiblicher Akt. In den Jahren 1916 bis 1917 schuf Hodler in seinem Genfer Atelier Rue du Grand Bureau 22 elf halbfigurige Porträts der jungen 17-jährigen, ausgebildeten Sängerin. Dieses vorliegende Gemälde Bildins Letizia Raviola unterscheidet sich von den anderen Werken durch seine starke Symmetrie und Frontalität. Im Hintergrund ist die Mauer des Ateliergartens sichtbar.
The collaboration between Ferdinand Hodler and Letizia Raviola (1899–1955) came about through an advertisement. She was the model Hodler used for his Blick in die Unendlichkeit (A Glance into Infinity) and Schreitender weiblicher Akt (Striding Nude Female). Between 1916 and 1917, Hodler created eleven half-figure portraits of the young 17-year-old, a trained singer, in his atelier on the Rue du Grand Bureau 22 in Geneva. This portrait of Letizia Raviola differs from his other works by its marked symmetry and frontality. In the background, the wall of the atelier’s garden is visible.
The collaboration between Ferdinand Hodler and Letizia Raviola (1899–1955) came about through an advertisement. She was the model Hodler used for his Blick in die Unendlichkeit (A Glance into Infinity) and Schreitender weiblicher Akt (Striding Nude Female). Between 1916 and 1917, Hodler created eleven half-figure portraits of the young 17-year-old, a trained singer, in his atelier on the Rue du Grand Bureau 22 in Geneva. This portrait of Letizia Raviola differs from his other works by its marked symmetry and frontality. In the background, the wall of the atelier’s garden is visible.