Study for Day (Truth)

About this artwork

The artist’s wife, Berthe Jacques, served as the model for this preliminary study for the Art Institute’s painting Day (Truth). Hodler would often have his models pose behind a wooden frame with a grid of threads stretched across it—a method first described by the artist Albrecht Dürer in the 16th century. This allowed Hodler to accurately check the subject’s proportions and measurements against the drawing, which was also outlined with a grid.

Art Historical Context

Ferdinand Hodler’s “Study for Day (Truth)” offers a fascinating glimpse into the creative process of one of Switzerland’s most influential late-19th artists. Created between 6 and 1898, this graphite drawing on cream wove paper measures 28.6 centimeters square, yet it served as a crucial preparatory step for a larger composition. Hodler, known for his Symbolist approach, often explored profound themes such as truth, nature, and human existence through rhythmic forms and balanced compositions. The medium—graphite with delicate smudging—allows for soft tonal transitions that give the figure a luminous, almost ethereal quality. Most notably, the sheet is squared for transfer, a traditional technique in which a grid is lightly drawn over the design so it can be accurately enlarged onto canvas or wall. This practical detail reveals Hodler’s methodical working method as he developed ambitious allegorical works. As part of the Art Institute of Chicago’s Prints and Drawings collection, the study highlights the importance of drawings not merely as sketches but as essential documents that bridge an artist’s initial vision and its final realization. Visitors can appreciate both the quiet beauty of the graphite medium and the thoughtful planning behind Hodler’s symbolic masterpieces.