Story about the film Franz Bird Mark. Franz Mark - the short life of the German expressionist and its color animals
Franz Moritz Wilhelm Mark (Franz Moritz Wilhelm MARC) was born February 8, 1880in Munich in the Wilhelm Mark (Wilhelm Marc), a lawyer and an amateur artist.
His father Wilhelm Mark, Executive, obviously, the desire of his parents, successfully finished the law faculty, and then dedicated himself to landscape painting. According to Franz's remark, his father was a landscape of the "unusually philosophical warehouse".
Wilhelm Brushes Brand belongs to the canvas, which shows the 15-year-old French carving (at the top; Ok. 1895, now the picture is located in the Franz Museum / Franz MARC MUSEUM).
Mother of the future artist, Sofia, was from the Alsatian family with harsh detachable traditions; He worked as a home teacher.
Grandparents Franz were amateur artists, copied the canvas of famous masters. Their ancestors took place from aristocratic labor; Have friends among artists and writers.
In general, the year of the 1880th can be called the year of painters, because then Andre Deren was born (André Derain; 1880-1954) - French painter, schedule, theater decorator;
Ernst Ludwig Kirchner (Ernst Ludwig Kirchner; 1880-1938) - German expressionist artist, schedule and sculptor;
Fritz Blail (Fritz Bleyl; 1880-1966) - German expressionist artist and architect;
American artist of German origin Hans Hoffman (Hans Hofmann; 1880-1966), representative of abstract expressionism,
And also Max Clarenbach (Max Clarenbach; 1880-1952), German artist, one of the organizers of the Düsseldorf association Sonderbund.
As a child, the future painter was distinguished by shyness and a tendency to dreams and reflections. In the family of Franz called " little philosopher" These character traits encouraged the elder brother Paul (Paul MARC, 1877-1949), subsequently a well-known visentist scientist.
Both of them were trained in the Munich Gymnasium Luitpold (Luitpold Gymnasium), which Franz, passing the final exams, finished in 1899 (years of his training there 1895-1899).
1899 year- Franz Mark serves in the army, in cavalry.
In the last years of stay in the gymnasium, Franz was particularly fond of Philosophy of Friedrich Nietzsche and the music of Richard Wagner.
Initially, he intended to devote himself to the study of theology and dreamed of the path of the rural priest (the mother of the future artist was a strict Calvinist).
F. Mark. Mother Portrait (1902)
A little later he was thinking about classes philosophy and even did in 1899. At the Philosophy of the Faculty of Munich University.
And only during the passage of mandatory military service, Franz Mark decided to become an artist.
In 1900.Mark was adopted in the Bavarian Royal Academy of Fine Arts, where he studied for several years under the guidance of academic painters of Gabriel Haklya (Gabriel Von Hackl, 1843-1926) and Wilhelm Von Diez (Albrecht Christoph Wilhelm Von Diez; 1839-1907; German colorist artist , prominent figure at the Academy of Fine Arts).
At the beginning of the century, Munich was a recognized art center of Germany. The tastes of the Munich public determined the dominant manner of a fashionable secular portrait of Franz von Lenbach - artistically careless, painting in dark colors. The direction of symbolism was represented by the work of Franz the background of the thing, follower of the popular Swiss artist Arnold Beclin. Pieces also taught in the Academy in the years of training there; Among his disciples were Paul Clee and Vasily Kandinsky, who later was destined to become close friends of Franz Mark.
In 1901.together with the elder brother Paul Franz traveled in Venice, Padua and Verona.
In the Academy Mark acquired professional skills, but the system of teaching historical painting in the tradition of the XIX century was deeply alien to him.
In 1903. At the invitation of a classmate, Franz Mark visited Paris, as well as Brittany and Normandia. At exhibitions and in the museums of Paris, he discovered impressionists, ascetic forms of ancient art from the Mouveau assembly and the linear decorativeness of Japanese engraving.
Training at the Academy has long been satisfied. And after in Paris, Mark first saw the work of Van Gogh, Gaugugen, mana - he decided to throw the academy and continue his studies on his own. From the trip, Franz also brought impressive Japanese xylography (engravings on the tree).
In 1904. Franz Mark, leaving the Walls of the Academy, moves to his first independent studio in Munich (Caulbahstrasse, 68). At the end of the same year, she moved again (st. Shellingger, 33). Writes "Intersdorf" (indersdorf).
F. Mark. Indersdorf (1904)
The short-term episodes of his biography - the passion for the style of modern and sentimental lyrism of German comprehension - only contributed to the awareness of their own aesthetic views.
F. Mark - Etude with a horse (1905)
In 1906. Franz along with his elder brother Paul, by Byzantium, travels in GreeceVisiting Mount Athos, Thessaloniki and other places.
F. Mark. Fresco (1904-1908)
In 1907the second trip to France took place. Living in Paris for almost six months, Franz Mark visits urban museums, copies the famous canvas - traditional artists for artists for the study and development of technology.The work was enormous on the young painter Van Gogh.
Mark noted: "- The most sincere, greatest, taking the soul of the painter from all I know. Write in the simplest manner, putting all faith and aspirations into the cloth - this is the highest achievement ... Now I draw only the simplest ... Only in it you can find symbolism, pathos and the mystery of nature. "
In Paris, Franz entered the artistic circle, met famous Sarah Bernard.
Schwabing was a focus of bohemian life, they quickly tied acquaintances ...
It so happened that melancholy and emotional explosions were accompanied by the development of the painter brand. In the summer, he travels a lot, seeking to recover from unsuccessful love romance.
Farlic Franz was inside a love triangle, being in connection with two Marys: Marie Shini. (artist-illustrator, Marie Schnür, 1869 - 1955) and Maria Frank (Maria Franck, 1876-1955).
Both Mary are captured in a small sketch "Two women on the hill" (1906), at the top.
Many years lasted his painful romance with a married artist Annette von Ecardt (Annette Von Eckardt; for 9 years older brand).
Marie Shini was older than Franz for 11 years. She has already been an extramarital son when she met Franz and went out for him in March 1907. From the side of the brand it was a "marriage of compassion": thanks to marriage, Marie Shini could take her son to him (who had previously lived with her parents).
A photograph of happy days together (1906) is preserved - both Mary and Mark enjoy the freedom and nagging on the lap of nature.
Who became shortly formality, the first marriage did not give the artist the opportunity to legitimize his relationship with Maria Frank until 1911. They met back in 1905. At a costume party (photo at the bottom).
In love required the resolution of the church for marriage. Twice receiving a refusal, they went to England, hoping to register relationships on the laws, but again the refusal. Then Franz and Maria simply healed together - unheard of courage at that time.
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F. Mark. Girl's head (with Maria Frank, 1906)
Externally, they did not seem like a suitable pair - Franz, a sophisticated intellectual with noble features, and Maria with a rude peasant face.
(Maria and Franz Mark with Pinsikus Russi, 1911)
But it is she who, heart and open, became his faithful companion for life.
In 1907Franz Mark first showed a large picturesque sketch for the tapestry "Orpheus and Beasts" (Munich, Lenbachhaus) at the exhibition. The fruitless composition of the sketch as it would resurrect the forgotten vision of the earthly paradise - the singer, walking along the flowering meadow, surrounded by obedient divine sounds of animals and birds.
It is known that his interest in animals The artist reinforced a comprehensive study of the subject.
F. Mark. Elephant (1907)
He read about handicating animals in the monasteries of the Order of Franciscans; His desk book was the "life of animals" Alfred Borm; In the famous Berlin zoo made sketches from nature, and in the zoological museum - the studies of animal skeletons; Investigated the ratio of external form and internal structure.
F. Mark. Dead Sparrow (1905)
Around 1908. Mark starts especially actively studying behavior, movement and nature of animals. He watches and writes cows and horses on Bavarian pastures for a whole hours. Deer in the forest. A series of photos, possibly made by the Mark himself, who show that sometimes the artist had to hide in dense reed thickets for his observations.
In 1908 - 1909, Franz Mark spends time in Tölz, Upper Bavaria.
Pictures of "larch" and "Deer at dusk" (1909, at the top).
"From an early age I perceived people as ugly. Animals seemed more beautiful to me and cleaner"," Wrote Mark.
The image of the animal has become a visual metaphor of a clean, natural, not mutilated civilization of the human spirit - such as it should be by the thought of the artist.
He writes "naked with a cat", "grazing horses", begins work on the picture "The dog lying on the snow".
In 1910. Getting acquainted with the works of art by Brankel (Brakl) and Tannhauser (ThannHauser).
In the same year, an important event occurred in the life of Franz Mark: he met a young German expressionist August Macte (August Macke, 1887 - 1914). Strong strong friendship. McCe has become a francity like-minded person who remained both years of life.
From the studio in Munich, Franz moved to the village of Zinecesdorf (Sindelsdorf) - along with Maria Frank.
In the fall of 1910.F. Mark participates in the second exhibition of the Association of New Artists (New Artists "Association in the Munich Tannhauser Gallery.
In the same 1910.the first independent (solo) exhibition of works by F. Brand in the Brake Gallery (BRAKL) in Munich. Moreover, Mark enlisted financial support for the industrialist and Petridge Bergard Köhler (Bernhard Koehler, 1849 - 1927), which accounted for an uncle wife Augustus.
The proximity of Munich helps the sociable McCee to come together with artists who brought together later in the "Blue Horseman", especially with Franz Mark and Paul Clee. McKe followed their creative searches with interest, participated in their projects (for example, in Almana), if possible, helped them, conducting negotiations with galleryrs, patronas, exhibition organizers.
However, he does not all divide the aesthetic views of the "Blue Rider", which seem sometimes too pretentious or, by his expression, walking "Too head".
With Franz Mark, McCe has the most heart-friendly friendships.
From June to November 1910 They worked together near Munich in the village of Zinecesdorf, where Mark lived now.
This period of active mutual influence was for both artists extremely important and fruitful.
Mark and McCe go together to Paris, where they get acquainted with the color-light experiments of Robert Delone, for whom Guillaume Apolliner came up with the name "Orphism". (from the article)
In 1910. In response to the request of the Munich Publisher Reinhard Pier, to comment on the topic of "Animals in Art" Franz Mark wrote:
"I do not put it purpose an image of only animals... I want to sharpen my perception of the organic rhythm of all things, expand the pantheistic feeling of the world, a lively pulsating blood flow in nature, trees, animals and air ... I do not know the best way like this "Revitalization"art than an image of animals. "
It was then that, in 1910, Mark formulated his aesthetic credo, which he himself described the terms "revival", "Pantheism", "purity", "rhythm".
"Three Red Horses" (1911, Rome, Collection of P. Heyer) - the first finished sample of unique animal Styles Franz Mark.
The horse was the favorite "hero" of the artist, the embodiment of the beauty and perfection of natural forces. Everything summer 1910., turning in the work of Mark, the artist spent in the village of Zinecesdorf, watching horses gracious in the meadows. He did runaway sketches, which resulted in three versions of the painting "Horses in Pasture".
(Horses in pasture, 1910)
But only the fourth option, "three red horses", summarized natural observations into an honed symbolic image. The grace of noble animals depicted in different turns and fused into the tariff is reminded by a circling rhythm of dance.
Franz Marc- Grazing Horses IV (The Red Horses), 1911
Deep flickering colors - red bodies against the background of yellow-green meadows, blue stones and purple-lilacakes of the outgoing sun - reveal new emotional capabilities of coloring in painting.
In 1911Franz Mark got acquainted with the Russian artist Vasily Kandinsky (1866-1944) who already lived in Munich for the fifteenth year. Franz Mark and Augustus McCee hotly supported the idea of \u200b\u200bKandinsky on the publication of a special almanac, on the pages of which avant-gardeners could express their views on art. So emerged "Blue Horseman"(Der Blaue Reiter). The soul of the publication and the artistic mug that flew around him was Vasily Kandinsky and Franz Mark himself.
("Blue Rider": Left Maria Frank and Franz Mark, 1911)
Artists of this association, among which were also Henrich Campendonk (Heinrich Campendonk, 1889 - 1957), Lionel Feyninger (Lyonel Feininger, 1871-1956), Paul Klee (Paul Klee, 1879-1940), Alfred Kubin (Alfred Kubin, 1877-1959 ), continued to develop the principles of German expressionism, proclaimed in 1905 by the painters of the Bridge group in Dresden.
"The blue rider is us two," said Kandinsky later.
Together, apprenting, according to Kandinsky, "dictatorial powers", they prepared the exhibitions "Blue Rider", edited the eponymed almanacs together.
Even the appearance of the name "Blue Horseman", which, as Kandinsky recalled, was born behind the coffee table in the garden of Zindeldorf, testifies to mutual understanding of two artists: "We both loved blue, Mark - horses, I am riders. And the name came itself. "
(F. Mark and V. Kandinsky, 1911)
December 1911 - January 1912: Franz Mark showed the first work at the Blue Rider's exhibition organized in the Munich Gallery Thannhauser galleries..Munich Exhibition of the Group and published later Almanaci brought artists "Glory Tributes: Curves Signs, Noise and Brank." And the public and the press were outraged by this revolutionary painting, with the imprint of radical freedom of paints and color e.that. Everywhere heard: "Maznida, colored patchwork."
It was the apogee of the movement of German expressionists. The exhibition was also shown in Berlin, Cologne, Hagen and Frankfurt.
In the Essay "Spiritual Treasures", written for Almanaci "Blue Horseman" in 1912., Franz Mark analyzes the concept " mystical interior", Speaking about the perception of the spiritual principle, which gives the merits or a special place, a unique character. Mark examines this topic by means of shapes on El Greco and Landscapes. The use of the word "mystical" causes the idea of \u200b\u200bsomething intangible or not obvious at first sight, as well as a feeling of intriguedness. Franz Mark seeks to capture this "mystical internal device" in its images of animals.
The above-mentioned picture "Two women on the hill" (1906) is one of the few works of the artist, where people are depicted.
F. Mark. Blue Liser (1911)
Almost all of its paintings, watercolors and engravings we see animals: deer, bulls, cows, cats, dogs, tigers, monkeys, foxes, boars.
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F. Mark. Bull (1911)
What is most often horses. He fell forever in the years of mandatory military service.
But the animalist Franz Mark was not: the beast for him is not realistic "Nature", but a higher creature, a symbol of natural, pure, perfect and harmonious being. The "animal" vision of the world seemed to him something like windows in an inaccessible to man Kingdom of nature:
"Is there any more mysterious for the artist than reflection of nature in the eyes of the animal? How do the world see a horse or eagle, roe or dog? How bad and dead our desire to put animals in the landscape that see our eyes instead of penetrating in their souls».
Franz Mark stands a mansion in the movement of expressionism. Romantic aspiration for the ideal, the search for inner harmony is especially noticeable in such works as the "blue horse" (1911, Munich, Lenbachhaus), "Bull" (1911, New York, Guggenheim Museum, at the top), "White Cat" (1912 , Galle, Moritzburg Gallery, below), "Dog, Looking at the World" (1912, Zurich, Private Assembly, at the top of the right).
These properties are distinguished by the art of a brand from creativity of other expressionists with their intense exaltation of color and form. However, on the eve of the First World War in the work of Mark, an alarming mood appeared. It was rather intuitive premonition of the impending catastrophethan a rational awareness of the historical situation.
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In the same year, he creates his famous "Blue Horses Tower" (at the top; Location Unknown), where the once harmonic image of the horse becomes the link to the frustrating unstable design of the bulky and swore forms.
The culmination of the alarming premonitions was the picture " Fate animals"(1913, Basel, Art Museum). According to the artist himself, he only later felt a fully prophetic character of these pictures: in faults and shifts of the forms, he was clearly heard "the hum of hoofs of apocalyptic riders".
This is the most famous canvas Franz Mark. He graduated from it in 1913.When "the whole society was covered by the feeling of the upcoming catastrophe."
On the back painting Franz Mark wrote: " And all the living glow in agony
"(" Und Alles Sein IST Flammend Leid ").
Already being at the front, about this picture: "... She is akin to the foreboding of the upcoming war - crushing and terrible. It is even difficult for me to believe that it's me Created such a canvas. "
Picture subtitle " Trees are exposed to their rings, animals - their veins
"Stresses the tragic idea of \u200b\u200bthe canvas: only the conceded trees show rings, only the dead animals are their subsidiaries. Forest room appears in the picture as a symbol of the concealing world of nature, which is destroyed and dies under pressure as an unknown formidable force. In the apocalyptic chaos, there are predatory red rims and rays, falling trunks, rolling horses, frightened by deer, looking for the shelter of boars, and in the center of the canvas - as the personification of an innocent victim - Blue Lan, who trapped her head to the sky.
This picture-Requiem, who became the prophecy of the upcoming war, is one of the last major works of the brand in which he retained a connection with figurative painting.
In the last year of creativity ( 1914
) Mark discovered the possibilities of painting outside the real subject forms. "Picture with cows", "Fighting forms", "Tyrol" [below] (all three - Munich, Bavarian State Assembly) consistently demonstrate the path for which the artist moved, crossing the threshold of realism.
Explosive dynamic structure of these canvases, powerful rhythm of color combinations allowed to expect the development of the principles of abstract art. True, in the front notepad Mark, next to the abstractions, still painted deer and his beloved horses.
"I am leaving on Thursday... now we need to silence and give the Word of World History».
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F. Mark. Sleeping dog. 1909 year
In April 1914 Franz and Maria Mark bought a small rural house in Rieda (Ried, municipal district in Bavaria). According to the memoirs of Kandinsky, this purchase has become the "execution of one of the greatest desires of Franz." He was able to hold a dog and even a hand deer.
The days before leaving to the front Mark spent at home in Reda (Ried) under Benedictbeyen: in his studio in the garden, where they grazed roeble, and where Rusi (White Shepherd Dog) had her little paradise.
But already in August of the same 1914, with the beginning of the First World War, Mark signed up by a volunteer at the front (in the cavalry) - sharing common to the part of the German intelligentsia illusion of spiritual updateThat was to bring with him a heroic winning war ... Kandinsky came to tell a friend and comrades "Goodbye", but Franz replied: "Goodbye."
A few weeks spent in the field artillery barracks, Mark goes to the border battles for Lorraine. From the "blue rider" the artist turned into an equestrian front-line connection. In the field mail, he sends to Reed: "I feel so calm, there is no fear of the coming difficulties." 
(Right: Franz Mark and Pinsik Russi, Figure August McCe)
But after a few days, the war shows his true face: "The body smell for many kilometers is unbearable."
Soon the sick Mark lies in Lazarut in Rie.
In October 1914F. Mark Ostiglo deeply struck his news about the death of the 27-year-old Augustus McCe (in September 1914) ...
In a necrologist dedicated to a friend, F. Mark wrote:
"In war, we are all equal, but from a thousand decent people, the bullet struck one indispensable ...
With his death, the most beautiful and bold turn of German artistic development was suddenly dyed; No one is able to continue it.
Everyone goes to his way; And, wherever we meet, we will always miss it. We, artists, we know well that with his departure of the harmony of paints in German art in many of his melodies should be filled, the sound became muted and dry.
From all of us it was he gave color the lightest and clean sound, as light and pure, which was all his being. "
(from the article)
By February 1916As can be seen, "he is to the military camouflage." He developed the technique of painting tarpaulin tents and covers for shelter artillery from air exploration, in the style of bold pointelism. Franz Mark created a series of nine such "Rospise on the tarpaulin", in styles that ranged from Mana to Kandinsky; Moreover, according to the artist, it is Kandinsky most effective against an enemy aircraft flying at a height of two or more thousand meters.
From the front, Mark sent many letters, setting out her philosophical aesthetics.
With it, it was always notepad with sketches of the paintings that he hoped to write as soon as possible.
A catastrophe and destruction work around him, but Mark, nevertheless, theorizes about the presumptive benefits of the war, mentioning, among other things, a spiritual breakthrough and atonement through suffering. He was so assumed in the ultimate utility of war, which even forgot that his patriotic dedication, in essence, feeds hostilities and causes his presence in the war.
Soon the artist began to interpret what is happening in an even more fatalistic key; Considering itself akin to images of animals that have become simply a motive of something more large-scale.
On the front, Mark is forced to rationalize his own goal - but at the same time there is deeply tormented by contradictions. Paul Clee "feared that Franz would become a completely different person," that his subtle mental organization would not transfer the cargo of reality. Mark was injured by war; He wrote that only death would bring him comfort and peace. One of the letters (to the artist's mother) contains such lines:
"... There is nothing frighteners in death, this is a general fate, comprehending everyone and returning us back to normal" being. " The space between birth and death is an exception that melts so many fear and suffering. The only true, unchanged, philosophical rest and consolation is awareness of the fact that the exceptional state mentioned will be consistent, and that "I-consciousness" is always a restless, incomprehensible, inaccessible, will again power in the wonderful rest before-birth ... for who It is eager for cleanliness and knowledge, death is salvation. " (cm. )
After carrying out mobilization in the German army, the government amounted to a list of outstanding artists, which for safety reasons should be delivered from staying at the front. Franz Mark was one of this list. But even before the release order reached the front part, the artist died.
During one of the reconnaissance departures, the cavalry fell under the shelling, Franz Mark was killed by a projectile fragment, which fell into his head. This happened March 4, 1916 In the battle under the verte. In a meaningless battle, it was almost half a year and abandoned 335,000 lives from Germany and 360,000 from France.
After the death of the artist in Munich and Berlin, his memorial exhibitions were organized.
In 1936-37 The Nazis swamped the creativity of the late F. Brand as "degenerative art"; About 130 of his works were withdrawn from exhibitions in Museums in Germany. It caused noisy discussions in society: the artist Franz Mark was loved by the public, he died in battle as an officer of the German army.
German expressionists are a bright, emotional and expressive stain in world art. And Franz Mark is one of them, as well as, together with August, McCe and Vasily Kandinsky, participant and co-founder of the artistic association of German expressionists "Blue Rider". Considering people ugly, he painted animals.
portrait of Franz Brand Brush August Make
Born on February 8, 1880 in Munich, German Bavaria. His father was a professional landscape. In 1899, the young Franz.enters the Philosophical Faculty of the University of Munich University, but after the service in the army it is not returning there, but it goes to study at the Munich Academy of Arts, where his teachers were academic artists Wilhelm von Dit and Gabriel von Hacl.
But the traditional, naturalistic vision of the surrounding world did not impress Franz Marca, Especially after creative visits to Paris and dating from postpressionism, the works of Gogen, Cezanna and Van Gogh. In search of their own style, the young artist even appeals to the anatomy of animals, displays them and trying to understand their essence.
Franz Mark. "Dog". 1908
Franz Mark. "Elephant". 1909.
The first decade of the new century marks the birth of expressionism Franz Marca. Animals in its paintings are red, blue, yellow and green, and background landscapes are very conditional.
Franz Mark. "Roofing in reeds." 1909 year
At the same time, he meets with Augustus McCe, and also enters the "New Munich Association", whose leader was Russian abstractionist Vasily Kandinsky. And after a year or a little more all three - Mark, McCe and Kandinsky - leave the "union" and create their own art rider's own art group.
Franz Mark. "Blue Horse". 1911
The group must be owned by Kandinsky and Mark.. Both of them loved blue, Mark - horses, and Kandinsky - running.
The first exhibition "Blue Rider" and Franz MarcaIn particular, he took place from December 1911 to January 1912 in the Townhausen gallery in Munich, where the work of this new direction was often exhibited.
Franz Mark. "Bull". 1911.
Favorite plot Franz Marca There were animals - horses, deer, foxes. According to the artist, they are a miracle of nature, in contrast to the person, whom Mark considered the ugly creature.
Franz Mark. "Boy with a lamb." 1911
In mature work Franz Marca A disturbing notes appear next to the animalistic motifs - cubistic images, sharp color transitions, rigid lines. An example is his picture "Fate of Animals" of 1913.
Franz Mark. "Fate Animals." 1913 year
As soon as the First World War began, the artist Novator threw the brush and went to fight. But his inner creator soon disappointed, understood the destructive essence of war. In 1916, during the Verden Operation in France Farnz Mark I was killed by a fragment of a shell aged 36 years. Many animals remained not drawn to them.
Franz Mark. "Pigs". 1913 year
Franz Mark. "Four Foxes". 1913 year
Franz Mark. "Cat"
Franz Mark. "Red deer." 1912.
Franz Mark. "Foxes". 1913 year
Franz Mark. "Yellow horse." 1913 year
Franz Mark. "Dead deer." 1913 year
Franz Mark. "Dog"
Franz Mark. "Tiger". 1912.
Franz Mark. "Two horses". 1912.
Prepared Yulia Sidimiansev
Franz Mark (02/08/1880 - 04.03.1916) - German artist and schedule, one of the founders of the Art Rider's Art Rider. Mark reduced world famous flavoring, made in an expressionist style of animal images.
Mark was born in Munich in the family of an artist-landscape player. He grew up in an atmosphere of strict piousness and dreamed of becoming a priest.
1900: In search of style. In 1900, Mark began to study at the Munich Art Academy. His early work is marked by the influence of the Munich school: made in joyful paintings paintings-landscapes, the small details of which are thoroughly drawn by a thin brush.
In Paris, Franz Mark got acquainted with the work of impressionists, which led (1903) to the change of artistic views of Mark. He left the academy and approached the style of painting to impressionism, working with bright, emitting paints, which caused wide, careless strokes.
In 1905, Mark's melancholic and often under the influence of the next mental crisis became acquainted with Artists Marie Shini and Maria Frank. Although he loved Maria Frank, he married it all else (1907) on Marie Shini. A year later, their union broke up, while Shini, despite the initial persuasion, filed a lawsuit on compensation for Mark damage from divorce, thereby preventing the wedding of his former husband with Franc. During the summer stay in Lenggriz in 1908, Mark wrote his first picture of the horse. He was still looking for his own language forms. The image was reduced to the exhaustion of the main thing and was characterized by a rhythmic direction of strokes, although the color palette remained naturalistic.
1910: Color theory.In the correspondence with his friend Augustom, Mark developed his own color theory, according to which each of the three main colors was characterized by individual properties: Blue represented "Male beginning, spiritual and ascetic essence", Yellow - "Women's Beginning, Tenderness and Joy of Life"; Red personified the matter as such and therefore was "coarse and heavy," being in confrontation against the previous two. One of the first pictures in which he embodied his theory of color ratio was "horse on the background of the landscape" (1910).
1911-1913: Famous animal. Animals in the eyes of the brand were carriers of such qualities as beauty, cleanliness and loyalty, which he no longer want to find in a human environment. Drawing animals, Mark did not strive to capture them with the eyes of a person, but rather imagined himself in their place. So, in the picture "Kosil in the forest II" (1912), the viewer sees in the foreground curtailed in the tangle, which feels safe, while the figures in the background are preparing for attack. Among other well-known works of this period, the pictures of "Blue Horse I", "Yellow Cow", "Little Blue Horses" can be called (all - 1911), as well as "Tiger" (1912).
1911: "Blue Rider".In 1911, Mark joined the "New Union of Artists of Munich", to which Vasily Kandinsky also belonged. In the same year, Kandinsky and Mark began work on Almanac, in which, according to their plan, paintings were collected by various cultures and articles about artists. Intense relations inside the "association" forced Mark and Kandinsky to leave the group and create their own, named "Blue Rider". They defined their artistic goal as a "pure compound with a clean form."
1912: Path to abstraction. After leaving the almanac of the "Blue Rider" (1912), the brand was interested in abstract painting: animals are often presented in the formulas that need to be deciphered. An impressed by the exhibition of works by the Italian futurists, Mark began to subordinate the color to the confusing stick of the planes.
The motive of the picture was subjected to a quasi-expression decomposition on geometric shapes ("roele in the monastery garden", 1912; "The Fate of the Beast", 1913; "Stables", 1913/14). At the same time, he worked on the "Blue Horse Tower" (finished 1913), which became its last creation to the fame of the world of animals. In the future, Mark turned exclusively to abstract painting. In four so-called "paintings-forms" (1914), due to the corresponding interpretation of the form and the color, it twice the feeling of either idyll and harmony, or the struggle and decline. Immediately after the beginning of the First World War, Mark went to the front by a volunteer, waiting for the war to the society cleansing and updating. In 1916, he died under Verden (France) at the age of 36.
Franz Mark (February 8, 1880, Munich, Germany - March 4, 1916, Verden, France) - German painter of Jewish origin, a bright representative of German expressionism. Along with August, Mac, Vasily Kandinsky and others. Was a member and chief organizer of the artistic association "Blue Horseman".
Biography of the artist
Born in Munich on February 8, 1880 in the family of the artist. He dreamed of becoming a priest, but 1900 turned to art and was engaged in the Munich Academy of Arts before 1903.
Having been in Paris (for the first time in 1903), he experienced the influence of French impressionism and postpressionism. At the same time, by the end of the 1910s, in correspondence with his friend, the artist A. Makka, developed his own color theory, where she attached to each of the main colors a special spiritual meaning (Blue embodied for him "Male" and "Ascetic" beginning, yellow - "Women's Beginning" and "Joy of Life", Red - Rubbing "Rough and Heavy" matter).
In 1911, he joined the "New Munich Art Association", where the leading role was played. In the same year, Mark and Kandinsky came out of the association, founding the Blue Horseman group and released (in 1912) the almanacs, decorated with engravings and drawings.
Under the influence of Italian futurism, the artist began to decompose the forms on the composite plane, making his images more dynamic (the fate of animals, 1913, an art museum, Basel).
Then Mark moved to abstract painting, seeking to express the main motifs of his creativity in compositions that combine clean colorful and linear effects (1914).
After the beginning of the First World War, Mark left a volunteer to the front. He died under the vertem on March 4, 1916.
CREATION
Historical painting, which was focused on the Academy, as well as naturalism, were not interested in the artist. Mark managed to find his style and his plots by the middle of the first decade of the twentieth century, and this was a considerable degree of a sudden trip Mark for half a year in Paris in 1907. Here he discovered great artists for himself - Cesanna , and. Their work made a deepest impression on a young painter.
In early things, retained a traditional, more naturalistic palette, although it strives for rhythmic generalizations of forms in the spirit of symbolism; With 1908, the leitmotif of his painting was the image of a horse against the background of the landscape.
In 1912, without adopting cubism and futurism, Mark fully switches to the creation of its abstract work. The series of his pictures of Animals-Particularly about horses and deer-in on forest animals, in which he tried to express his admiration for the miracle of nature, are widely known. In their works (for example, "Blue Horses", 1911, Walker Art Center, Minneapolis, Minnesota) He used both broken lines, and stylized curves, and brilliant unreal color.
Mature masters are dedicated to animals, represented as higher, cleaner creatures in relation to a person who seemed to be brand too ugly. Among the characteristic paintings of this kind, with their smooth rhythms and bright and at the same time dramatic color contrasts, - Red Horses (1910-1912, Folkwang Museum, Essen). Apocalyptic sentiment reached the apogee in its last large animal canvas tower of blue horses (1913; not survived). Then Mark moved to abstract painting, seeking to express the main motifs of his creativity in compositions that combine clean colorful and linear effects (1914).
Francé brand's favorite motif was images of animals in blue, red, yellow and green tones against the background of conditional landscapes.
Blue horse
"Blue Horse" is one of the most famous works of the German artist Franz Mark. At the same time, it differs from other artist pictures. First of all, its main advantage is its special piercing and charm.
The horse reminds the young young man who is still full of strength. He bowed his head to one side. His body is made in a bit broken forms. By the way, drawing in such a manner is characteristic of this artist. The stern horse permeates white color. At the same time, his mane and hooves give blue. Due to this contrast, the horse looks very unusual. And in general, it is a little unusual to see a blue horse.
The picture itself is made in fairly interesting color. Against the background of these contrasting colors, the horse seems even more unusual. It seems that it complements the background, and the background, in turn, also complements the horse. These two objects simply could not exist without each other.
In the picture we see the color theory of the artist. He believed that fantasy, like creativity, does not have borders. Therefore, it is necessary to write as you see, and in no way.
Such a color scheme is characteristic of many works Franz Mark. In the picture "Blue Horse" there is a significant predominance of blue. Here the artist combined the noble animal and the blue principle by creating something irresistible. However, this image is so irresistible not only because of the color. Horse shape itself is also quite expressive, that is, it causes various emotions in the soul of every person. Due to the fact that the head of the animal is inclined, it seems that the horse is a susceptible creature, which is also capable of feeling.
Pictures of expressionists have always fascinated and surprised admirers of art. This course appeared at the end of the 19th century, but the greatest heyday reached at the beginning of the 20th. The most vivid representatives of this direction were born in Austria and Germany. Franz Mark did not exception. He, along with other creators, tried to express his look at the ugliness of civilization in his paintings, which caused the events of the 20th century, in particular the World War.
Birth
Franz Mark was born in 1880. His father was also an artist that it was directly influenced by his future fate. Despite the fact that he in the younger dreamed of becoming a priest, already at 20 he decided to draw attention to art.
Training
The painter lived a short life. The Academy of Arts has become a hometown for him, where he was engaged and acquainted with impressionism and postpressionism. Then this place was a certain inhabitant of world creativity. The Munich Academy of Arts collected the future famous artists under its roof. Near Franz studied Hacl and Ditz. Although they became famous, they still did not catch up with the brand.
The young artist tried not to sit still, but to study art not only in his country. This explains him where he just got acquainted with French directions in art. Here he could see the creations of the great Van Gogh and Gaugugen.
The second trip of the painter to Paris influenced the theme of his future creations. Returning to Munich, he began to inhibit the anatomy of animals in order to portray his eyes on nature in his paintings.
"Blue Horseman"
"New Munich Art Association" attracted the attention of Franz after his acquaintance with Augustus. Then, in 1910, he decided to be part of this organization. For a long time, he could not get acquainted with the head of the community Vasily Kandinsky. A year later, they finally met. After 10 months, artists Kandinsky, Make and Franz decided to create their own organization "Blue Horseman".
They were immediately able to organize an exhibition, where Franz and presented their work. Then the best German paintings of expressionists were collected in the Tangauzer Gallery. And the trio of Munich painters worked to promote their society.
Cubism and recent years of life
The last stage of the life of Franz Mark can be considered his acquaintance with the work of Robert Delone. His Italian Cubism and Futurism made a significant share in the future works of a German painter. At the end of his life, Mark changed the direction in the work. Its canvases depicted all over abstract details, torn and block elements.
Inspired many creators of art and literature on their work. But over time, the creators were disappointed in the events and realities of the war. Franz Mark voluntarily went to the front. There he, like many other creative people, was disappointed in the events. It wounded bloodshed, terrible paintings and sad outcome. But the artist was not destined to return and embody all his creative ideas. At 36, the painter died from the shell fragment under the verte.
Cloths and style
Life affects the artist, on his work and style. Franz also had changes that were poured in his canvas with new colors. The German in nature was a dreamer. He suffered for humanity and sad for lost values \u200b\u200bin the modern world. In the pictures, he tried to display something fantastic, peaceful, beautiful, but the naked eye shows that each cloth was filled with longing.
Writers and artists of the beginning of the 20th century tried to find and recreate the golden age, but the war turned everything into the pile of wreckage, and creative people tried to heal the wounds. In his works, Franz Mark tried to display primarily the philosophical start. And all that was depicted in the pictures was a value. Each color was given their characters, each item was endowed with something special. Colors and forms influenced the psyche of man, his mood and self-relief.
"Blue horse"
Always distinguished by a special approach to creating his cloths Franz Mark. The "blue horse" became something symbolic in the work of the painter. This picture is most popular among the others. In addition, on a row with others, it is highlighted by a special style. One glance only gives a person in the state of charm and piercing.
The picture shows a horse that is full of strength. He symbolizes the young man. The body of the horse has several broken shapes and an interesting cross. In the chest, it seems like a white beam, and mane and hooves, on the contrary, shrouded blue.
The fact that the color of the horse is blue, causes an unusual interest. But it is worth noting and no less attractive background. Outcome: Horse complements the background, and the background complements the horse. According to the plan of the painter, these two objects cannot exist separately, they are interconnected and are one of them, although they are allocated to each other.
After the creation of this picture, Franz tried to explain his idea to Mac. He argued that blue - this is the rigor of a man, yellow - female softness and sensuality, red - matter, which is suppressed by two previous shades.
"Birds"
Another picture is worthy of your attention. She also wrote Franz Mark. "Birds" - another special work of the artist. She was written in 1914 and became the first unusual work, which characterized the new style of painter. This is a picture of the most mature painting Mark, which has become a mapping of the animal world. The artist felt that the animals were therefore the ideal that were much higher and cleaner than people.
"Birds" is the same style that appeared after a similar picture, despite its bright colors, emphasizes some alarming and hostile attitude. Most likely, it is associated with sharp transitions from one shade to another. The picture becomes "ring" and apocalyptic.
Looking at the canvas, it seems that a certain explosion happens, who worries and disturb the birds. They scatter and at the same time remain calm. When the world overtakes war, someone begins to fuss, and someone tries to accept the situation. "Birds" became a clear display of military peace with his fears and anxieties.