Eiger, Monch and Jungfrau in Moonlight 1908

Editor: Here we have Ferdinand Hodler's "Eiger, Monch and Jungfrau in Moonlight," painted in 1908, using oil. The composition is fascinating, it gives a dreamy feeling. How do you interpret this work considering its historical context? Curator: Hodler’s landscapes, like this one, weren't just pretty pictures. They emerged within a burgeoning Swiss national identity. How do you see the mountain range functioning beyond just representation? Editor: Well, the mountains, especially depicted in such a solemn way, do feel symbolic of something larger than themselves…almost like a representation of national pride and steadfastness. Curator: Precisely. And it's crucial to note when this painting was made. In the early 20th century, Switzerland was solidifying its image as a neutral, powerful nation. How does the formal structure, with its emphasis on symmetry, contribute to that idea? Editor: The symmetry gives a sense of stability, of unmoving strength...The way he positions these almost mystical mountains definitely imparts some feeling. Curator: Absolutely. Hodler was deeply involved in Symbolism. But it’s important to think about the institutions surrounding art, even landscape art. The market for Swiss landscapes helped to promote Switzerland’s tourism and economy. Hodler's artistic project actively helped frame how the world looked at Switzerland. Considering this, does it alter your interpretation? Editor: It's interesting how these monumental landscapes intertwine with nationalism and political agenda of the time. Thank you. I see Hodler’s paintings of the Swiss Alps as not only capturing its geographical beauty, but also the essence of a nation defining its identity. Curator: And Hodler definitely had a clear vision of the power of Art's ability to shape identity and place in the early 20th Century!