01 Work, The Art of War, Ferdinand Hodler's Dying Warrior, with footnotes

Ferdinand Hodler  (1853–1918)

Battle of Marignano, Dying Warrior, c. 1897 - 98

Oil on canvas, sketch and study

height: 66 cm (25.9 in); width: 201 cm (79.1 in)

Kilchberg private collection

Fragment from the second cartoon for the mural "The Retreat at Marignano" for the weapon room in the Swiss National Museum in Zurich.

This artwork of Hodler is also known as: F.Hodler, Sterbender Krieger.

The Battle of Marignano was the last major engagement of the War of the League of Cambrai and took place on 13–14 September 1515, near the town now called Melegnano, 16 km southeast of Milan. It pitted the French army, composed of the best heavy cavalry and artillery in Europe, led by Francis I, newly crowned King of France, against the Old Swiss Confederacy, whose mercenaries until that point were regarded as the best medieval infantry force in Europe. With the French were German landsknechts, bitter rivals of the Swiss for fame and renown in war, and their late arriving Venetian allies. More on The Battle of Marignano

Ferdinand Hodler, (born March 14, 1853, near Bern—died May 20, 1918, Geneva), one of the most important Swiss painters of the late 19th and early 20th century.

He was orphaned at the age of 12 and studied first at Thun under an artist who painted landscapes for tourists. After 1872, however, he worked in a more congenial atmosphere at Geneva, under Barthélémy Menn. By 1879, when Hodler settled in Geneva, he was producing massive, simplified portraits owing something to the French realist painter Gustave Courbet. By the mid-1880s, however, a tendency to self-conscious linear stylization was visible in his subject pictures, which dealt increasingly with the symbolism of youth and age, solitude, and contemplation, in such works as “Die Nacht” (1890; “The Night,” Kunstmuseum, Bern), which brought him acclaim throughout Europe. From this time his serious work can be divided between landscapes, portraits, and monumental figural compositions. The latter works present firmly drawn nudes who express Hodler’s mystical philosophy through grave, ritualized gestures. These pictures are notable for their strong linear and compositional rhythms and their clear, flat, decorative presentation. More on Ferdinand Hodler

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