The yellow cow
Franz Marc , 1911
189.2 × 140.7 cm
Oil on canvas
Solomon R. Guggenheim Museum , New York
The yellow cow is a painting by the German painter Franz Marc from 1911. It is one of the artist's best-known works and shows one of his numerous animal representations in the style of Expressionism . The execution was carried out in oil on canvas with the dimensions 140.7 × 189.2 centimeters. A jumping yellow cow dominates the painting as the central motif. It is surrounded by a colorful, structured landscape. The conception of the picture largely determines the contrast between the dynamic motif and the calm background.
The yellow cow falls into the formative phase of Marc's work. The color symbolism , which he helped to develop at this time, permeates the picture. Her focus is not on naturalistic color rendering, but on conveying the ascribed emotional world of the motif. In this way, the representation consciously receives a subjective message from the painter and conveys his view of the world. For Marc, animals embodied an ideal that he held against human control of nature. Later interpretations of his Yellow Cow refer to autobiographical influences and relate the picture to the relationship with his wife Maria Franck .
Since 1949 the painting has been in the possession of the Solomon R. Guggenheim Foundation , which is exhibiting it in the Solomon R. Guggenheim Museum in New York . Previously, it presented exhibitions by the Blue Rider in Munich and the Nierendorf Gallery .
Image conception and execution
The picture is divided into the foreground, which contains the central motif of the yellow cow , a middle ground and the structurally strongly subdivided background. The paint structure is fine, but flat. The composition of the picture is shaped by the contrast between the calm background and the dynamism of the central motif. The movement is particularly evident in the animal's posture. While the front legs already seem to be bearing the weight of the body, the hind legs are still in a lively jumping movement. The impression of a contrast between the central motif and the background reinforces the comparatively concrete landscape in muted colors, in which calmly grazing animals can be recognized.
In contrast to the dynamic contrast, the color composition results in a balanced overall picture that contains all the spectral colors . Warm colors with a harmonious, light tone dominate, giving the picture a friendly expression. Bright colors such as yellow, red and green characterize the picture, the few dark, black and blue-gray tones fade into the background.
foreground
The yellow cow forms the central motif of the painting. Due to its considerable relative size, it dominates the foreground. Marc arranged them, shifted slightly to the left, in the middle of the picture. Dominating the picture, she pushes herself almost diagonally into the landscape and displaces landscape elements such as trees, hills and plants onto secondary scenes. Her tail swings directly into the upper left corner of the picture. Due to the offset position and offset from the background, the motif corresponds with the environment of the painting. It seems as if it comes from the top left corner, emerging from the picture. This gives an impression of spatiality .
The motif shows a massive, clumsy cow that seems to jump through the picture and with pleasure tilts its head upwards, revealing its throat. The representation of the cow has an unusual sickle shape. It can be understood as an allusion of Marc's to the lively design language of Art Nouveau , which was widespread at the time. The unusual posture stands out from most of Marc's previously made animal pictures, which are characterized by typical, traditional figure compositions and perspectives.
The fur appears in different shades of yellow , only a blue-black spot shimmers on the belly. Their predominantly yellow, anti-naturalistic coloring is in clear contrast to the muted colors of the rest of the picture. Individual areas of the cow retain their natural coloring: the udder , hooves and facial markings have a color that differs from the dominant yellow. Colored or black contours clarify the appearance.
Middle ground
In the middle distance there are black tree trunks to the right and left of the central motif. One is inclined to the left, three are to the right, also set diagonally. Their approximate orthogonality emphasizes the dynamics of the central motif in their counter-rotation. Positioned diagonally to the front and rear legs of the cow, they seem to stabilize the central motif, to “ brace it in space ”. Its direction of course crosses the imaginary extension of the cow's legs at an acute, almost right angle, thus creating an almost geometrical structure of the picture, a system of diagonals . Marc found this geometric construction to be particularly important. This can be seen in Marc's letter to Kandinsky in which he complained about the cropping of his picture on the occasion of the illustration in the catalog for the first exhibition of the Blue Rider in December 1911. Due to the cut, his picture "got completely out of the structural conditions."
background
The background is a landscape that is strongly differentiated in terms of form and color and is usually divided into basic geometric structures, especially triangles and ovals. The landscape and its elements - mountains, stones, plants and grazing animals - are more specific than other paintings by Marc from this period. The landscape in the background is divided into three spatial zones:
Stylized stones and plants form the front background. On the left there are strong grass and uplifting plants in deep to light shades of green. Round stones in light yellow, gray and white interrupt the arrangement. The white stones can be interpreted based on a phallus , which would suit a personalized interpretation. While green predominates in the left half of the picture, tones of red, which alternate with orange and yellow, characterize the right half of the picture. There are strong reds and oranges where the cow seems to step on the ground. This section of the image is contrasted by white and black areas, some of which, as shading, give the impression of spatiality.
Flat red tones form the middle background . They are essentially covered by the central motif and only take shape as a group of grazing cows in the left area of the picture. These two to three grazing cows hardly stand out from the surrounding landscape in order not to distract from the central motif. Indifferent, merging red and yellow tones dominate here.
In the rear part of the background are a stylized mountain range in shades of blue, blue-gray and dark hills, which surround a purple-orange to yellow sky. There are isolated green passages at the transitions.
History of the painting
Marc worked on the yellow cow in the summer of 1911. It is attributed to his second creative phase, which stretched from spring 1911 to summer 1912 and is considered to be his maturity period, during which his artistic breakthrough took place. It falls in the period from 1909 to 1914, in which Marc's painting style made the most serious changes.
prehistory
As early as 1907, Marc's style shifted towards Expressionism. This was expressed in the abandonment of a naturalistic color and later also form rendering towards a symbolic penetration of his works, initially in particular with the medium of color . This development intensified around 1911 and reached its climax in the collaboration with Wassily Kandinsky . Marc met him in Munich that same year. The two were soon bonded by a deep friendship that enriched their work. In particular, Kandinsky's strong and pure color compositions impressed Marc. Together they developed their ideas of colors, color theory and color symbolism.
In the course of his style change, Marc turned his back on the so-called local color , the original, natural color, and turned to the color of the essence. The essence color results from the symbolization of soul life, the sensation, the feelings of the artist during the visual experience. This was aimed at painting things for what they really are, not how we see them. The colors have a suggestive effect, which enables the viewer to have a deeper sense of what is seen and to make him accessible to the true content of a picture. Especially with Marc, there is also the immersion in the illustrated motifs. There is a shift in the viewing and presentation perspective.
The animal lover Marc left the objective point of view of an observer particularly with his depictions of animals and tried to empathize with the animals. He tried to capture her essence and her feelings. In an attempt to see out of them , he also turned them into ambassadors for himself: the feelings of the animals remained his own. In trying to attribute feelings to them, he imposed personal feelings on them. This led to the criticism of the humanization of animal representations through the inevitably subjective perception of the feelings of alien beings. His friend, the painter Paul Klee, described Marc's twofold relationship to his animal motifs: “ He leans towards animals in a human way. He raises them to himself . "
From 1911 onwards, Marc limited himself entirely to depicting animal motifs. In animal pictures beyond conventional animal painting, which was mostly limited to pure depiction, he saw an ideal means of expressing himself. In them he tried to convey his philosophical-religious worldview, according to which animals represent the embodiment of an original purity of creation . They existed in harmony with nature , in contrast to human civilization , which is trapped in a hostile modern world. In the spirit of pantheism , Marc saw nature as a universal principle whose ideals should be followed. He understood his pictures as a paradisiacal utopia of a better world, a romantically transfigured departure from the dogma of the superiority of human control of nature and self-alienation towards nature. The focus of Marc's work was the idealization of nature. For him, painting was also an escape from the real world.
Because despite his avant-garde - modern presentation, Marc did not aim to make a progress-oriented statement. Rather, the idealist Marc rejected the materialism of modernity. His pictures refer to a transfigured originality and purity that lies beyond or before social conventions and civilization. This explains his enthusiasm for folk art and non-European indigenous art, which captured him at that time. With the return to the original painting laws and their connection with modern techniques, Marc wanted to realize a naive, authentic expression of feelings in his painting. In 1911 he studied intensively the exhibitions of the Völkerkundemuseum Berlin and dealt with animal representations in ancient cultures. In Marc's earlier painting Donkey Frieze (1911), letters attest to ancient Egyptian influences. In the case of the yellow cow , early Greek influences are suspected. The motif of the yellow cow shows parallels to depictions of cattle on the gold cups by Vaphio , which were very well known thanks to an essay by Alois Riegl from 1900. On some reliefs of these finds there are bull-catching scenes in which bulls are shown in a posture similar to Marc's yellow cow: in full run, throwing the hind legs, the front legs set down. Later, Marc did not expand his preoccupation with primitivism , as many Cubists did , for example .
In this second creative phase, Marc also reversed his approach to the conception of images. While the reduction, the abstraction of accidental individual features of his models, shaped his previous expressionist work, he now shifted his attention to the analysis and reproduction of geometric shapes, the construction. This can already be seen from the partially geometrically structured background of the yellow cow . This is only hinted at in the Yellow Cow , the depiction of the central motif in particular remained largely oriented towards the subject. She is at a turning point in Marc's work. In his later creative phases he came to an increasingly consistent abstraction, which from the years 1912 to 1914 at the latest in his pictures increasingly led to complete non-representationalism. Marc's image concept also received new inspiration. Since 1910 Marc has been grappling with the structure of form and the strict division of pictures by Paul Cézanne and Hans von Marées and combined these with dynamic set pieces to create his own style, which is expressed in the yellow cow . From the contrast between the foreground and background, he developed a clear image structure that is able to compensate for the dissolution of the traditional, natural perspective as a structuring force.
Origin of the picture
Even before the Yellow Cow, Marc regularly painted cows, but in a less formalized, denaturalized representation, such as the Fighting Cows (1911, oil on canvas) and Cows under Trees (1910/11, oil on canvas). Marc's sketches and letters provide information about the creation of the Yellow Cow .
In 1911 Marc traveled to England with his long-time partner Maria Franck, where they married in June. After this trip, preparatory sketches for the painting were made. First, Marc developed contour drawings in pencil , which were retained in his sketchbook XXIII. The jumping cow already appears very similar to that of the later painting, but Marc contrasted it with another animal motif of equal value. The dominant effect as the central motif has not yet unfolded. As a result, it must have occurred to Marc to develop the cow motif as an independent image, possibly as a counterpart to his similarly conceived blue horses.
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A preparatory study of the painting in oil on wood was carried out, which already contained all the essential design features. The elaboration was rather fleeting and sketchy on a sawed-off, unprimed wooden board that might have been laid out by chance , the grain of which remained visible through the oil paint. The use of inferior quality materials suggests hasty preparatory work. The body of the cow remained much closer to the natural object in this sketch than in the later work. The coloring and the division of the picture already corresponded to that of the later painting, but where they were executed even more pointedly. The work is now in the Erhard Kracht collection , which is exhibited by the Moritzburg Foundation museum .
To make the Yellow Cow , Marc used pure color oil paints on a large-format canvas. Clear colors should convey his subjective color perception and should not be weakened by adding opaque neutral colors. The pure colors result in partial dissonances, which should be canceled out in the overall picture, with the aim of a harmonious use of the entire color spectrum. During his training, however, Marc had internalized working with muted colors. As a result, his handling of pure colors and their coordination turned out to be problematic. Marc managed himself here by continuously checking the effect and the coordination of the colors with the help of a prism during the processing . He finally completed The Yellow Cow in the course of the summer of 1911. While he was working on it, he created the paintings The Bull and The Little Blue Horses , on which Marc had been planning since 1908. Marc achieved the breakthrough to its completion by working with the yellow cow , which brought him new knowledge.
Further development of the motif
After the Yellow Cow , the same motif reappears very similarly in Marc's painting Cows Red, Yellow, Green (1912, oil on canvas), this time arranged with additional cow motifs. In contrast to the yellow cow, the background here is much less specific, more extensive and less detailed. Marc completed the painting at the end of 1911, but officially it is usually dated to 1912. At Kandinsky's request, Marc sent it to an exhibition in Moscow in January 1912, where it was shown to an audience for the first time.
The cow and bull motifs permeate Marc's other oeuvre . As tempera paintings , the sketches Bull (1911), Resting Cows (crouching bull) (1911), The green cow (1912) and The lying red bull (1912) accompanied his second creative period.
Further depictions of cattle can be found as cows under trees (oil on canvas, 1911), in which Marc combines bull and cow motifs, Children's picture (two cows) (1912, oil on canvas), Small picture with cattle (1913, oil on cardboard), Cow with Calf (1913, oil on canvas), and Die Weltenkuh (1913, oil on canvas, also exhibited in the Guggenheim Museum). The world cow stands at the transition from Marc to abstract painting. While the central motif still appears essentially physical, Marc has already abstracted the background into geometric shapes.
In most of his later pictures, created from 1913 onwards, the depictions of animals dissolve into formulas. An example of this is the painting with cattle from 1913, in which the representation of a cow is pressed into a new formal language. Marc was inspired by his encounter with Robert Delaunay , whom he met during his trip to Paris in 1912 together with his friend August Macke . As a result, Marc's style tended more and more towards abstraction, comparable to Cubism. This is a development that appears similar to Kandinsky's, but could not be completed since Marc passed away in 1916.
Cows under trees , 1911; Combination of cow and bull motif
The World Cow , 1913; At the turning point towards abstraction
Painting with cattle , 1913; Dissolution of the animal motifs into a formula
Exhibition and whereabouts
The yellow cow was part of the first exhibition of the editorial team of the Blue Rider , which took place from December 18, 1911 to January 1, 1912 in the Galerie Thannhauser in Munich. Marc had the painting reproduced for the exhibition catalog published by Piper Verlag in May 1912 . Kandinsky and Marc were the central figures of the Blue Rider, who emerged from Kandinsky’s break with the New Munich Artists’s Association (NKVM) in December 1911. You acted as the editor of the Almanac, in which The Yellow Cow is Marc's main contribution to this work. The price for the painting at the first exhibitions in 1912 was 1,000 marks. The yellow cow was also intended as a contribution to an illustrated picture edition, the Blue Rider's Bible .
After Marc's death in 1916, the Nierendorf Gallery, in collaboration with Maria Marc, exhibited his complete works in Germany four times in commemorative exhibitions . The last Franz Marc memorial exhibition took place on the 20th anniversary of his death from March 4 to April 19, 1936 in Berlin . Maria Marc provided The Yellow Cow , among other pictures . She kept the painting in her possession after her husband's death. The main contributions The red deer , foxes , deer in the flower garden and the yellow cow , which were already famous at the time, made the event an undesirably great success for those in power, which at the same time made a ban more difficult. The close proximity to the Olympic Games in Berlin also contributed to this; During this time the National Socialists tried to appear open-minded and tolerant in front of their international guests. Except for minor restrictions, the exhibition could take place as planned.
With the Olympic Games, the phase of exhibited tolerance ended at the same time. In order to avoid the impending exhibition ban and the confiscation of the pictures, Karl Nierendorf hurriedly emigrated to the United States with a large part of his exhibits, including The Yellow Cow , and opened the Nierendorf Gallery in New York . As early as 1937, the National Socialists defamed Marc as a “ degenerate artist ” and stole 130 of the works he had left in Germany from museums and galleries.
In the 1940s Nierendorf sold numerous paintings to Solomon R. Guggenheim . After Karl Nierendorf's death in 1947, the state of New York confiscated and expropriated his entire estate under the pretext that the state of war between the United States and Germany was still ruling . The state owned the yellow cow . From this, Guggenheim had it acquired for a symbolic price shortly before his death at the end of 1949 and handed over to his foundation founded in 1937.
Guggenheim, who had made his fortune through the copper trade , had been enthusiastic about abstract and expressionist art since meeting the German painter Hilla von Rebay , a friend of Kandinsky, in 1928. This enthusiasm led to the establishment of his foundation and the Museum of Non-objective Painting , which opened in New York in 1939. Hilla von Rebay, who had a particular fondness for artists of German Expressionism, was largely responsible for putting together his collection. As part of the exhibition The Guggenheim Collection in the Bonn Art and Exhibition Hall of the Federal Republic of Germany , The Yellow Cow was on loan for the first time in Germany from July 21, 2006 to January 7, 2007 .
Symbolism and interpretation
The decisive expression factor of the yellow cow lies in its color symbolism. For most viewers, this is the key to accessing the image. The colors indicate the emotional world of the main motif. Marc's color symbolism locates the dominant yellow of the cow in femininity and liveliness. This corresponds to the attributes attributed to the cow such as fertility and food, symbolic values that can be found in many agrarian or nomadic cultures and (natural) religions (cf. cattle cult in ancient cultures ).
The influence of Marc's color symbolism
The color scheme is based on the color symbolism developed by Marc and Kandinsky, which should result from the inner workings, the feelings of the depicted living beings in relation to their environment. The colors are not depicted as the artist sees them, as they " depict his retina ", but as the depicted being perceives its environment, how it feels. In empathizing, not just in the illustration, Marc saw the true artistic achievement. Franz Marc wrote:
“I always dreamed of impersonal images; I have an aversion to signatures. I also never have the desire, for example, to paint the animals as I see them, but as they are (how they see the world and feel their being). "
Kandinsky published his treatise On the Spiritual in Art for the Blue Rider's first exhibition . In it he describes his view of the essence of color, which he developed together with Marc, the implementation of which, however, was not yet consistently dogmatic when the Yellow Cow was made.
Marc said yellow, red and orange instilled “ideas of joy”, yellow was also the typical earth color, but “tones bright and high like a trumpet.” It seems eccentric and suggests jumping over boundaries, “dispersing strength in the environment, “the leakage of stored power, electricity . Marc underlines the cheerful motif of the carefree, spirited jumping cow with the dominant color yellow, which underlines the energy that corresponds to the dynamics of the motif. The publicist Walter Mehring spoke ironically of Marc's “roaring cow yellow”. Yellow is a force that pushes outwards. At the same time, yellow expresses lust for life and femininity.
The feminine and masculine principle play a major role in color symbolism. The defining color of the central motif assigns the pictures their gender : according to the artist's theory of colors, blue stands for the male principle: calm, thoughtful, spiritual; Yellow for the feminine principle: gentle, cheerful, sensual.
The art critic Theodor Däubler wrote about Marc's cow pictures:
“There are cows of all colors, but Marc's cow is yellow. She has a drop of sun in her soul. The cow's disposition is good. How contemplative the cow's soul yellows between meadows and streams that turn blue every time it, the cow, is yellow. Since animals are colorful, they should differentiate their surroundings in different colors, depending on how they are themselves. The yellow cow sees the world blue. […] At Marc, animals are a pretext for painting. Perhaps he realized that animal souls are color conscious. "
The color choice of the background is made up of the color blue , which should stand for masculinity, hardness and spirituality. It is attributed to the cow's environmental perception: its carefree zest for life is exposed to the sober harshness of the world. The background also contains an interplay of red and green that is echoed in Marc's blue horses. By varying the colors, the result is a harmonious design that uses the full range of colors. In its equilibrium, it sets itself apart from the formative dominance of the central motif and at the same time emphasizes it.
Interpretation in the context of development
Further interpretations of the image statement do not just refer to Marc's color symbolism, but also include the historical and personal context of the creation.
Some critics of the first exhibition of the Blue Rider put Marc's The Yellow Cow in relation to the early Greek gold cups by Vaphio. These were a source of inspiration for Marc and the yellow cow was consequently a “ Mycenaean cow.” Regardless of the reference to the motif, a connection between the yellow of the cow and the gold of the cups is doubted today and an interpretation based on Marc's color symbolism is preferred.
Newer interpretations of the picture are based on the context in which it was created. They understand the emotional expressions from Marc's color symbolism as an exposure of his personal emotions and in this sense explore the biographical background of the development.
The yellow cow is often associated with Marc's wife Maria. The picture is considered a female counterpart to the blue horses, interpreted as male, which show similarities in terms of the foreground-background concept with a dominant central motif and a background design that is harmonious in terms of color. If, after the allocation of gender principles, the Blue Horse I , also created in 1911 - calmly, thoughtfully looking downwards, mentally - is interpreted as a self-portrait of Marc, the yellow cow corresponds to a portrait of his wife. The dynamic motif and the dominant yellow - standing for the feminine, gentleness, sensuality and joie de vivre - underline character traits that are attributed to Maria Marc. Marc developed a juxtaposition of male and female in one picture in 1912 with a cat motif in Two Cats, Blue and Yellow (oil on canvas).
The New York art historian Mark Rosenthal sees a connection between Marc's previous wedding and the creation of the picture. For him, the exulting yellow cow, as a symbol of feminine principles, also stands for Marc's wife Maria. Following this idea, Rosenthal interprets the front of the triangular bluish-black mountains in the background as an abstract self-portrait of Marc, lying, his eyes closed dreamily. The painting is thus a personal wedding picture of Marc, the symbolized love of Marc for his wife.
Another interpretation sees the animal paintings generally sublimating or replacing the Marc married couple's unfulfilled desire to have children . Kandinsky wrote in his memoirs, “That Marc loves his animal pictures like his children.” If one looks at the picture further in connection with Marc's relationship with his wife, the white stones in the front background can be interpreted as a phallus, the extension of which is the blue one male area of the otherwise feminine yellowish central motif results.
Reception and evaluation
Similar to the blue of his horse pictures, Marc aroused head-shaking, indignation and rejection in many contemporaries with the yellow of the cow. In a debate about modern art in the Prussian House of Representatives on April 12, 1913, Member Julius Vorster was furious about what he thought was an unnatural representation of a cow in Marc:
“Mr. Vorster provided himself with a few reproductions of the Sonderbund exhibition in Cologne and a few issues of this magazine and tried to stop the 'pathological development of the visual arts' with a long speech. [...] He complains about portraits that look like caricatures (very correct!) [.] About landscapes in which one has tried to get the ugliest side of nature (very correct!). He cites the farmers as experts for animal pictures: 'Please have a look at the yellow cow' (very correct!). He finds 'the so-called picture puzzle' to be particularly interesting. These picture puzzles remind him of the first creation of painting among primitive peoples (very correct! And great serenity). [...] They also remind him of the artistic achievements of eight-year-old boys. A female figure has a neck that is too long. Van Gogh has 'a particular fondness to paint ugly, more or less crooked people (cheerfulness).' Herr Vorster found all of this. He also finds that 'the aim and task of true art is to depict the beautiful and sublime in nature and in human life'. [...] And hereupon Mr. Vorster urgently asks the Ministry of Culture to 'donate any funding to the pathological art described (bravo!), That is, especially no purchases for museums (cheerfulness). Because, gentlemen, we are dealing here with a direction that, from my layman's point of view, means a degeneration, one of the symptoms of a sick time. (Loud applause.) '"
With their radicalism, Marc and Kandinsky were seen as the spearheads of the avant-garde , fighters for abstract art, and they also polarized the art scene. Marc's Yellow Cow met with strong rejection in the NKVM . Like Kandinsky's work, its development no longer corresponded to the majority position of the association. After only 10 months, Marc broke with the NKVM and founded the Blue Rider together with Kandinsky.
The National Socialists regarded Marc's works as "degenerate". However, the fact that he died in the war before Verdun and his great fame resulted in a differentiated treatment of his work. Numerous Nazi greats were admirers of Marc's art in their private lives. Although his works were also confiscated, acknowledgments on the days of his death were published in the synchronized press. The artist was respected, but his work remained officially outlawed. Many of Marc's works, like the yellow cow, ended up in private hands or went abroad.
After 1945, Marc's work became very popular. In the 1950s and 1960s, the years of the ban were followed by a real Marc boom. This was possibly due to the need to catch up with the art that was ostracized under the National Socialists. Animal representations and cheerful motifs were primarily in demand, while other forbidden works, especially those with socially critical and confrontational claims, were largely ignored. This seems to be due to the desire for purity, peace, forgetting of the horrors of the war years and an accompanying depoliticization and idyllization . In particular, reproductions of Marc's animal pictures such as the yellow cow met the demand of the people as wall pictures and color postcards. At the same time, the work was largely belittled and kitschy . Marc's claim was sacrificed to a superficial consideration, the depictions of animals viewed merely as harmless and apolitical. His criticism of the human world was largely ignored.
Today The Yellow Cow is considered one of the most famous works of Marc and German Expressionism. In Marc's work, the painting stands as a link between different creative epochs, created in a phase of transition in his style, at an important point. Beyond the art world, the motif of the yellow cow entered mass culture as a figurehead of Expressionism . In addition to many two-dimensional reproductions, there are also three-dimensional, three-dimensional implementations of the motif made from various materials.
Notes and individual references
- ^ A b Nancy Spector: Franz Marc. Yellow Cow. In: guggenheim.org. The Solomon R. Guggenheim Foundation, accessed April 24, 2021 (American English).
- ↑ a b c Partsch 2005, p. 43.
- ↑ a b Förster 2000, p. 113.
- ↑ a b c d e Förster 2000, p. 112.
- ↑ Partsch 2005, p. 41.
- ↑ a b c d e f g h i j k l m Lankheit 1976, p. 78.
- ↑ Quoted from Lankheit 1976, p. 78.
- ↑ See relevant section .
- ↑ Förster 2000, p. 109.
- ↑ Lankheit 1976, p. 80.
- ↑ Friedel / Hoberg 2006, p. 32.
- ↑ Friedel / Hoberg 2006, p. 33.
- ↑ a b Partsch 2005, p. 40.
- ↑ cited in Partsch 2005, p. 46.
- ↑ Partsch 2005, p. 38f.
- ↑ Partsch 2005, p. 37ff.
- ↑ Partsch 2005, p. 38.
- ↑ Partsch 2005, p. 28.
- ↑ Partsch 2005, p. 43.
- ↑ a b c Partsch 2005, p. 44.
- ↑ Lankheit 1976, p. 77ff.
- ↑ Lankheit 1970, No. 143.
- ↑ Lankheit 1970, No. 142.
- ↑ The marriage in their Bavarian homeland was not possible because the marriage of convenience between Marc and his first wife Marie Schnür in 1908 was based on the intimate relationship between Marc and Franck. According to Section 1312 of the German Civil Code (BGB) as a reason for preventing marriage, the case law of the time stipulated that those divorced because of adultery were not allowed to marry the person with whom the adultery was committed. As a result, Marc and Franck moved to England to have their marriage concluded there under English law. After the legal clarification in Germany, they repeated their marriage on June 3, 1913 in Munich according to German law. See Jüngling / Rossbeck 2004, p. 80ff and p. 109ff; Marc biography on zeno.org (accessed August 4, 2015)
- ↑ Lankheit 1970, No. 151.
- ↑ Collection Erhard Kracht - Research & Collections - Kulturstiftung Sachsen-Anhalt. Retrieved April 24, 2021 .
- ↑ Partsch 2005, p. 28f.
- ↑ Lankheit 1970.
- ↑ Lankheit 1970, No. 153.
- ↑ Friedel / Hoberg 2006, p. 141.
- ↑ Lankheit 1970, No. 427.
- ↑ Lankheit 1970, No. 425.
- ↑ Lankheit 1970, No. 428.
- ↑ Lankheit 1970, No. 426.
- ↑ Lankheit 1970, No. 176.
- ↑ Lankheit 1970, No. 213.
- ↑ Lankheit 1970, No. 211.
- ↑ Lankheit 1970, No. 208.
- ↑ Partsch 2005, p. 48.
- ↑ The cause was the rejection of Kandinsky's work The Last Judgment. Composition V in a jury meeting on December 3rd of the year for the group's third exhibition. Kandinsky's work, which has been created since October, clearly exceeded the jury's specifications of a maximum of 4 square meters with its dimensions, which resulted in a picture of more than five square meters. However, this was only an excuse. Kandinsky, who rejected the group's conservative orientation, deliberately provoked a scandal that led to his resignation. His development towards abstraction, which took place from 1911, no longer suited the orientation of the NKVM. In a short time he developed the idea of a new artist group together with Marc and hastily organized the first exhibition of the Blue Rider. See Friedel / Hoberg 2006, p. 40.
- ↑ Jüngling / Rossbeck, p. 128.
- ↑ a b c d Anja Walter-Ris: The history of the gallery Nierendorf. Passion for art in the service of modernity. Berlin / New York 1920–1995. Berlin 2000, pp. 205ff.
- ↑ Marc 2000, p. 99.
- ↑ Partsch 2005, p. 39.
- ↑ Marc 1920.
- ↑ Friedel / Hoberg 2006, p. 140.
- ↑ quoted from Lankheit 1976, p. 78.
- ↑ Förster 2000, p. 113, citing Kandinsky.
- ↑ a b Partsch 2005, p. 42ff.
- ↑ Däubler 1919.
- ↑ Partsch 2005, p. 46.
- ↑ cited in Partsch 2005, p. 41.
- ^ Anton von Werner : Of the fine arts. : The storm. Weekly / monthly for culture and the arts , year 1913, p. 19 (online at ANNO ).
- ↑ Both artists were involved in art politics, exemplarily in the confrontation with the alleged " foreign infiltration " of German art propagated by Carl Vinnen and others with the memorandum Im Kampf um die Kunst . See Partsch 2005, p. 31ff.
- ↑ Gollek 1980, p. 158.
- ↑ Partsch 2005, p. 33.
- ↑ For example Hermann Göring and Ernst Hanfstaengl .
- ↑ a b Partsch 2005, p. 37.
- ↑ a b Lankheit 1976, p. 167.
literature
- Theodor Däubler : In the struggle for modern art. In: Kasimir Edschmid (ed.): Tribune of art and time. Berlin 1919–1920, Volume 3, 1919.
- Katja Förster: In search of a perfect being. Franz Marc's development from a romantic to a spiritual-metaphysical interpretation of the world. Karlsruhe 2000.
- Helmut Friedel, Annegret Hoberg (ed.): The blue rider. Baden-Baden 2009. (Publication by the Frieder Burda Foundation on the occasion of the exhibition The Blue Rider in Baden-Baden 2009)
- Helmut Friedel, Annegret Hoberg (eds.): Franz Marc. The retrospective. Munich 2006. (Publication on the occasion of the exhibition in the Städtische Galerie im Lenbachhaus, Munich 2006)
- Rosel Gollek: Franz Marc: 1880–1916; 27.8. - October 26, 1980, Städt. Gallery in the Lenbachhaus Munich. Munich 1980. (Catalog for the Marc exhibition in the Städtische Galerie im Lenbachhaus in Munich 1980)
- Kirsten Jüngling , Brigitte Roßbeck : Franz and Maria Marc: The biography of an artist couple. List, 2016, ISBN 978-3548613123 .
- Klaus Lankheit : Franz Marc. Catalog of the works. Cologne 1970. Dumont Cologne, ISBN 978-3770104628 .
- Klaus Lankheit: Franz Marc. His life and his art. Dumont Cologne 1976. ISBN 978-3770102952 .
- Franz Marc: Letters. Records and aphorisms. Berlin 1920.
- Franz Marc, Klaus Lankheit (Ed.): Writings. Cologne 2000.
- Susanna Partsch : Franz Marc. Cologne 2005.
