Hodler considered coquetry and theatrical exaggeration of feelings as the epitome of femininity. In his portrait of the 16-year-old Hélène Weiglé, the Swiss Symbolist tamed the feminine principle with clear structures. The sprawling leaves opening into a dark path in the upper part of the picture are juxtaposed with the young woman’s rigorous profile and her checked dress against a grey backdrop. She is rather aloofly scrutinizing a single marguerite, and her gracefulness seems artificial, as if she is aware of being observed.
霍德勒(Holder) 认为卖弄风情和夸张的情感是女性气质的缩影。在他为16岁的海伦-韦格莱创作的肖像中，这位瑞士象征主义者用清晰的构图展现了女性气质。在画面的上半部分，枝叶张开，形成一条黑暗的小路，与灰色背景下年轻女子精致的轮廓和格子连衣裙形成对比。她颇为冷淡地打量着一朵春白菊，她的优雅似乎是做作的，仿佛知道有人在注视她。
Ferdinand Hodler was one of the best-known Swiss painters of the nineteenth century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of symbolism he called Parallelism.
费迪南-霍德勒是十九世纪最著名的瑞士画家之一。他的早期作品是现实主义风格的肖像画、风景画和风俗画。后来，他采用了一种个人形式的象征主义，他称之为平行主义。
In the last decade of the nineteenth century his work evolved to combine influences from several genres including symbolism and art nouveau. In 1890 he completed Night, a work that marked Hodler's turn toward symbolist imagery. It depicts several recumbent figures, all of them relaxed in sleep except for an agitated man who is menaced by a figure shrouded in black, which Hodler intended as a symbol of death. Hodler developed a style he called "Parallelism" that emphasized the symmetry and rhythm he believed formed the basis of human society. In paintings such as The Chosen One, groupings of figures are symmetrically arranged in poses suggestive of ritual or dance.
十九世纪的最后十年，他的作品逐渐融合了几种流派的影响，包括象征主义和新艺术。1890年，他完成了《夜》，这幅作品标志着霍德勒转向象征主义绘画。这幅作品描绘了几个躺着的人物，他们处于放松的睡眠状态，除了一个激动的人，正受到另一个黑衣人的威胁，霍德勒意图把他作为死亡的象征。霍德勒发展了一种他称之为 "平行主义"的风格，强调构建人类社会基础的对称与节奏。在《被选中的人》等画作中，一组组人物以暗示仪式或舞蹈的姿势对称排列。
We present today's painting thanks to the Städel Museum. : )
感谢施泰德博物馆与我们分享今天的画作。:)
