Deer In the Forest, 1911
Marc FranzOil on Canvas, 100.97 x 104.78 cm
Philips Collection, Washington DC, USA
(Please note this art is copyrighted and is to be used only as inspiration.)
About the Art
"Amidst and integrated with the form of the deer is a panoply of force lines and transparent planes; an underlying organization of these exists in the pattern of parallel diagonals moving downward from the right and left edge, meeting in the middle. A secondary pattern exists in the rectilinear planes of color on the left opposing circular patterns on the right. while a blue mountain is absent, a smaller triangle encloses two of the deer; it and the blue tree at the left edge provide an uplifting quality. Contrasting the blue is the intense red throughout the center of the picture, oranges at top and bottom, and the feathery black in the upper right.
The all-over organization of the canvas uniting animal to landscape, diminishes the heroism of the animal subject as depicted by Marc in 1911. Supporting Marc's latest conception of the world was Wilhelm Ostwald's theory of energy, in which matter is considered illusory. Only energy lines reveal appearance such as it is. In Deer in the Forest, this conception results in an energized atmosphere of randomness and chaos. the sense of an inchoate environment demonstrates both Marc's feeling of the world as a whole and his developing urge to represent Creation, and aspiration that is present in the works of Wassily Kandinsky and Paul Klee."
About the Artist
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 the journal.
Franz Marc contributed to the vision of abstraction in its second wave, 1911-14, by wedding an Expressionistic outlook to the new pictorial developments emanating from France. There, formal innovations were largely an end in themselves. But in the hands of Franc Marc and Wassily Kandinsky, arbitrary color, faceted planes, and pictorial structure became modes with which certain deeply held themes could be stated. Marc's achievement was in effect creating works of art that, through abstract means, evinced his conception of the overall unity and character of nature.
As a founder of the Blue Rider, Marc holds a place in the theoretical impact of this pivotal movement of future developments, such as Dada, and Bauhaus. More specifically, Marc was to have an influence on his colleague Paul Klee. the latter described their relationship as a pair of overlapping circles, with a "relatively large common area." Although a year younger, Marc reached artistic maturity ahead of Klee. In general, the overall delicacy of touch and transparency in Marc's watercolors are close to the work of Klee after 1914. Also, certain motifs appear fist in Marc's work and subsequently in Klee's; for example, Marc's use of triangles and upward-moving forms to imply aspiration became a constant in Klee's art. The two shared much in common theoretically, especially the desire to see through a transcendent vantage point. reinforcing their common belief in fate was the fact that, on the day Klee received word from Maria Marc of his friend's death, he was drafted.
The desire by the German wave of abstractionists to unite the new pictorial means from France with ambitious or transcendent subject matter, or both, quickly became the goal of subsequent movements of twentieth-century abstraction. While Marc was not alone in possessing lofty aspirations, he and Wassily Kandinsky established a critically important step in making Cubist and Fauvist harmonies apply to an elevated concept of subject matter. For instance, the desire for the content of epic proportions became a touchstone in the work of Kasimir Malevich and Piet Mondrian, and then, among American Abstract-Expressionists Jackson Pollock, and Mark Rothko.
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 the journal.
Franz Marc contributed to the vision of abstraction in its second wave, 1911-14, by wedding an Expressionistic outlook to the new pictorial developments emanating from France. There, formal innovations were largely an end in themselves. But in the hands of Franc Marc and Wassily Kandinsky, arbitrary color, faceted planes, and pictorial structure became modes with which certain deeply held themes could be stated. Marc's achievement was in effect creating works of art that, through abstract means, evinced his conception of the overall unity and character of nature.
As a founder of the Blue Rider, Marc holds a place in the theoretical impact of this pivotal movement of future developments, such as Dada, and Bauhaus. More specifically, Marc was to have an influence on his colleague Paul Klee. the latter described their relationship as a pair of overlapping circles, with a "relatively large common area." Although a year younger, Marc reached artistic maturity ahead of Klee. In general, the overall delicacy of touch and transparency in Marc's watercolors are close to the work of Klee after 1914. Also, certain motifs appear fist in Marc's work and subsequently in Klee's; for example, Marc's use of triangles and upward-moving forms to imply aspiration became a constant in Klee's art. The two shared much in common theoretically, especially the desire to see through a transcendent vantage point. reinforcing their common belief in fate was the fact that, on the day Klee received word from Maria Marc of his friend's death, he was drafted.
The desire by the German wave of abstractionists to unite the new pictorial means from France with ambitious or transcendent subject matter, or both, quickly became the goal of subsequent movements of twentieth-century abstraction. While Marc was not alone in possessing lofty aspirations, he and Wassily Kandinsky established a critically important step in making Cubist and Fauvist harmonies apply to an elevated concept of subject matter. For instance, the desire for the content of epic proportions became a touchstone in the work of Kasimir Malevich and Piet Mondrian, and then, among American Abstract-Expressionists Jackson Pollock, and Mark Rothko.
Blog Tour
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An Art Bead must be used in your piece to qualify for the monthly challenge.
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7 comments:
Wow, Nellie!! Can't wait to see what comes from this painting!
I know! Isn't it great!!
What a stunning painting. I don't even know where to start. Thanks for such a great inspiration!
What a fun piece of artwork - looking forward to working with the 2013 spring pantones palette !
Kaushambi
Goodness! this is really beautiful! the colors...love at first sight!
Ooo love Mark Franz...one of my favourite artists!
Great work. Looking forward to see great art work.
Would love to place that art work on my site. See if those people can find best value for what they are doing. My Site to and sell art online ARTORCA
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