Sunday 9 February 2014

ART SUNDAY - FRANZ MARC

“It is just like man’s vanity and impertinence to call an animal dumb because it is dumb to his dull perceptions.” - Mark Twain
 

Franz Marc (born February 8, 1880, Munich, Germany—died March 4, 1916, near Verdun, France), was a German painter and printmaker who is known for the intense mysticism of his paintings of animals. His childhood was spent in Munich, then the capital of the Kingdom of Bavaria. His father, Wilhelm, was a professional landscape painter; his mother, Sophie, was a strict Calvinist. In 1900, Marc began to study at the Academy of Fine Arts, Munich, where his teachers included Gabriel von Hackl and Wilhelm von Diez. During his twenties, Marc was involved in a number of stormy relationships, including a years-long affair with Annette Von Eckardt, a married antique dealer nine years his senior. He married twice, first to Marie Schnuer, then to Maria Franck.
 

Franz Marc was a founding member of Der Blaue Reiter (“The Blue Rider”), an association of German Expressionist artists.  Marc’s early works were painted in a naturalistic academic style, but after discovering French Impressionist painting in 1903 he adopted a more modern approach, using simplified lines and vivid colours. During a trip to Paris in 1907 he encountered the work of the Post-Impressionist painter Vincent van Gogh, whose vigorous, emotional brushwork profoundly influenced him. Van Gogh’s effect on Marc’s style is especially evident in “Cats on a Red Cloth” (1909–10).
 

In 1910 Marc met the Russian-born painter Wassily Kandinsky, who was a member of a group of Expressionist artists known as the Neue Künstlervereinigung (“New Artists’ Association”). Marc joined the group in 1911 and worked closely with another member, the young painter August Macke, whose idiosyncratic use of broad areas of rich colour led Marc to experiment with similar techniques.  Marc and Kandinsky split from the Neue Künstlervereinigung in 1911, forming a rival group of artists named Der Blaue Reiter. Together they edited an almanac of the same name, which was published in 1912.
 

Having long been interested in Eastern philosophies and religions, Marc responded enthusiastically to Kandinsky’s notion that art should lay bare the spiritual essence of natural forms instead of copying their objective appearance. Kandinsky and Marc developed the idea that mystical energy is best revealed through abstraction. Marc believed that civilisation destroys human awareness of the spiritual force of nature; consequently, he usually painted animals, and he was also passionately interested in the art of “primitive” peoples, children, and the mentally ill.
 

Marc’s philosophy can be seen in works such as “The Large Blue Horses” (1911; Walker Art Center), in which the powerfully simplified and rounded outlines of the horses are echoed in the rhythms of the landscape background, uniting both animals and setting into a vigorous and harmonious organic whole. In this painting, as in his other mature works, Marc used a well-defined symbology of colour: Blue, yellow, and red each stood for specific emotional qualities. Blue was masculine and spiritual while yellow was female and joyful. Red was a colour of brutal materialism, a force of nature.
 

In 1912 Marc’s admiration for the works of the French painter Robert Delaunay and for the Italian Futurists made his art increasingly abstract. He began to use the faceted space and forms of Delaunay’s brightly coloured Orphist compositions to express the brutal power and timorous fragility of various forms of animal life; an example is Tyrol (1914), a work that approaches abstraction. Marc joined the German army in 1914; he was killed in combat two years later.

1 comment:

  1. Der Blaue Reiter came at exactly the right time. I liked Macke and Marc's work much more than I liked Kandinsky's later work, but then who knows how Marc might have turned out had he not died in the carnage that was WW1. What a tragedy.

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