Swearing to the right 1912

Editor: Here we have Ferdinand Hodler's "Swearing to the Right," painted in 1912 using oil paints. There's something about this solitary, yellow figure with one arm raised that feels both powerful and isolated. What do you see in this piece? Curator: It’s a fascinating study in gesture and symbol, isn't it? Consider the raised arm, a universally recognized sign of oath-taking, loyalty, or even supplication. But swearing to *the right*...it invites us to unpack what "right" signifies, particularly in the cultural landscape of 1912. Was Hodler exploring concepts of political alignment, perhaps nationalistic fervor? What memories of past movements or cultural figures could he have been trying to recall? Editor: So, you're saying the act of swearing isn't just about the figure but the idea of what they're swearing *to*? Curator: Precisely. Think of how images function within collective memory. A simple gesture, imbued with historical weight, becomes a potent symbol. Hodler's use of color too – the striking yellow against the muted background – it creates a sense of urgency. And it's this use of urgent colour to draw us into the memory. What does this all evoke in *you*? Editor: It makes me think about how easily symbols can be co-opted or re-interpreted over time. Depending on who is using it and how, that symbol and swearing motion can carry multiple and complex emotional weight, even opposites of what was intended! Curator: An excellent point. The meaning isn’t fixed but rather is dynamic and dependent on cultural context, which Hodler so eloquently seems to capture. It speaks to art's enduring ability to reflect and question our shared human experiences. Editor: Absolutely, I'll never look at a raised arm the same way again. Curator: Nor I. The visual vocabulary speaks volumes.