Franz Marc

Franz Marc

Franz Marc in 1910
Born (1880-02-08)8 February 1880
Munich, Bavaria, German Empire
Died 4 March 1916(1916-03-04) (aged 36)
Braquis, France
Nationality German
Education Academy of Fine Arts, Munich
Known for Painting
Notable work Fate of the Animals, The Tower of Blue Horses, The Yellow Cow, Blue Horsesm
Movement Expressionism

Franz Marc (February 8, 1880 – March 4, 1916) was a German painter and printmaker, one of the key figures of the German Expressionist movement. He was a founding member of Der Blaue Reiter (The Blue Rider), a journal whose name later became synonymous with the circle of artists collaborating in it.

Early life

Franz Marc was born in 1880 in Munich, then the capital of the Kingdom of Bavaria. His father Wilhelm Marc was a professional landscape painter; his mother Sophie was a homemaker and strict Calvinist.

Education

In 1900 Marc began to study at the Academy of Fine Arts, Munich, where his teachers included Gabriel von Hackl and Wilhelm von Diez. In 1903 and 1907, he spent time in France, particularly in Paris, visiting the city's museums and copying many paintings, a traditional way for artists to study and develop technique. In Paris, Marc frequented artistic circles, meeting numerous artists and the actress Sarah Bernhardt. He discovered a strong affinity for the work of painter Vincent van Gogh.

Career

Blaues Pferd I, Blue Horse I (1911)

In 1906, Marc traveled with his elder brother Paul, a Byzantine expert, to Thessaloniki, Mount Athos, and various other Greek locations. A few years later, in 1910, Marc developed an important friendship with the artist August Macke. In 1910 Marc painted Nude with Cat and Grazing Horses, and showed works in the second exhibition of the Neue Künstlervereinigung (New Artists' Association) at the Thannhauser Galleries in Munich.[1]

In 1911, Marc founded the Der Blaue Reiter journal, which became the center of an artist circle, along with Macke, Wassily Kandinsky, and others who had decided to split off from the Neue Künstlervereinigung movement.

Marc showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. As it was the apex of the German expressionist movement, the exhibit also showed in Berlin, Cologne, Hagen, and Frankfurt. In 1912, Marc met Robert Delaunay, whose use of color and futurist method was a major influence on Marc's work; fascinated by futurism and cubism, Marc created art increasingly stark and abstract in nature. He painted The Tiger and Red Deer in 1912 and The Tower of Blue Horses, Foxes, and Fate of the Animals in 1913.[1]

Wartime

With the outbreak of the Great War in 1914, Marc was drafted in the German Army as a cavalryman. By February 1916, as shown in a letter to his wife, he had gravitated to military camouflage. His technique was to paint canvas covers (for hiding artillery from aerial observation) in broadly pointillist style. He took pleasure in creating a series of nine such tarpaulin covers in styles varying "from Manet to Kandinsky", suspecting that the latter could be the most effective against aircraft flying at 2000 meters or higher.[2]

After mobilization of the German Army, the government identified notable artists to be withdrawn from combat for their own safety. Marc was on the list but was struck in the head and killed instantly by a shell splinter during the Battle of Verdun in 1916 before orders for reassignment could reach him.[3]

Style

Die großen blauen Pferde, The Large Blue Horses (1911)

Marc made some sixty prints in woodcut and lithography. Most of his mature work portrays animals,[4] usually in natural settings. His work is characterized by bright primary color, an almost cubist portrayal of animals, stark simplicity and a profound sense of emotion. Even in his own time, his work attracted notice in influential circles. Marc gave an emotional meaning or purpose to the colors he used in his work: blue was used to portray masculinity and spirituality, yellow represented feminine joy, and red encased the sound of violence. After the National Socialists took power, they suppressed modern art; in 1936 and 1937, the Nazis condemned the late Marc as an entarteter Künstler (degenerate artist) and ordered approximately 130 of his works removed from exhibition in German museums. His painting “Landscape With Horses” was discovered in 2011 along with over a thousand other paintings, in the Munich apartment of Cornelius Gurlitt whose dealer father, Hildebrand Gurlitt, was a collector of Modernist art the Nazis called “degenerate.”[5]

One of Marc's best-known paintings is Tierschicksale (Animal Destinies or Fate of the Animals), which hangs in the Kunstmuseum Basel. Marc had completed the work in 1913, when "the tension of impending cataclysm had pervaded society", as one art historian noted.[6] On the rear of the canvas, Marc wrote, "Und Alles Sein ist flammend Leid" ("And all being is flaming agony").[6][7] Serving in World War I, Marc wrote to his wife of the painting, "[it] is like a premonition of this war—horrible and shattering. I can hardly conceive that I painted it."

Legacy and honors

Plaque on the house where Marc was born

Personal life

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 Schnür, then to Maria Franck; both artists.

Public collections

Among the public collections holding works by Franz Marc are:

Gallery

Publications

See also

References

  1. 1 2 Klaus H. Carl and Franz Marc, Franz Marc, Parkstone Press 2013
  2. ↑ Newark, Tim (2007). Camouflage. Thames and Hudson / Imperial War Museum. p. 68.
  3. ↑ Dantini, Michele, Modern & Contemporary Art, (Sterling Publishing Inc., 2008), 29.
  4. ↑ Cooper, Philip. Cubism. London: Phaidon, 1995, p. 98. ISBN 0714832502
  5. ↑ Kimmelman, Michael (5 November 2013). "In a Rediscovered Trove of Art, a Triumph Over the Nazis’ Will". The New York Times. Retrieved 8 November 2013.
  6. 1 2 Kleiner, Fred S. Gardner's Art Through the Ages. 2008, page 916
  7. ↑ Rookmaaker, Hendrik Roelof. Modern Art and the Death of a Culture. 1994, page 136
  8. ↑ http://www.collectienederland.nl/dimcon/defundatie/652

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