Two stories, one collection

He was an exceptional landscape artist who was undoubtedly more successful than other painters in creating characteristically Swiss landscape. His works literally resound with the murmur of mountain springs and the breath of fresh mountain air.

His allegories made him one of the most important Secession painters: Tired of life (1892), The chosen one (1893), Eurythmy (1895), Eurythmic sentiment (1895), Day (1898-1899).

The Truth was his direct response to the Dreyfus Affair, and his name can be found among the signatures of artists protesting against the bombardment of Rheims cathedral.

Hodler must have been fully aware of the possible consequences of his actions, and these indeed followed: he was expelled from every German art society and his large composition Jena was covered.

Jeanne was a special kind of collector. Her collection was generated in an unusual way: through gifts by the painter himself but mostly through the unsystematic taking of works from Hodler’s studio, which seemed to have been based on no criteria at all.

Recently after Hodler's death, Jeanne married for the 2nd time. Her new husband was Mehmed Ćišić, diplomat of the Kingdom of Serbs, Croats and Slovenes. On all his travels he was accompanied by his wife Jeanne and the Hodler collection (Chicago, New York, Montreak, Belgrade...).

Recently after Hodler's death, Jeanne married for the 2nd time. Her new husband was Mehmed Ćišić, diplomat of the Kingdom of Serbs, Croats and Slovenes. On his travels he was accompanied by his wife Jeanne and the Hodler collection (Chicago, New York, Montreal, Belgrade...).

Jeanne collected almost everything, even portraits of Hodler's other models, wifes and lovers.

This collection enables us to follow Hodler’s creative process. Particularly relevant in this respect is his method of building a composition: Hodler often used cut-out sketches which he arranged in the background like puppets in a theatre.