![]() The young horse in this painting does seem to exist on a more spiritual plane than our own. Horses especially represented a freedom and purity of spirit.Ĭombining animals with specific colours, he was able to convey these sentiments to the viewer. Franz Marc chose animal subjects for his paintings because to him, they represented innocence, an existence before the fall of Eden. ![]() Indeed, looking at Blue Horse, the young, masculine horse tilts his head, as if in sensitive contemplation. Red is matter, brutal and heavy and always the colour that the other two must oppose and overcome!” Yellow the female principle, gentle, gay and sensuous. This is not only due to Marc's extensive knowledge of animal anatomy, but also because of his remarkable use of colour.Īs Marc explained in a letter in 1910, “Blue is the masculine principle, astringent and spiritual. Each painting of his animal subjects is deeply emotional. Not only was he fascinated by their anatomy and environment, but also by their rich inner worlds. Marc showed several of his new paintings at the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich in late 1911.įranz Marc was captivated by the study of animals. Marc and fellow artists in the group, such as Macke and Kandinsky formed an artist's circle which was focused on the importance of colour, expression, and symbolism. Published on J/ Updated on October 14, 2023Įmail: / Phone: +44 7429 011000 This painting, Blaues Pferd, or Blue Horse, by the Expressionist painter Franz Marc was created in 1911, the same year that Marc founded The Blue Riders (Der Blaue Reiter) Spirituality complement the yellow sensuality of the cow.Tom Gurney BSc (Hons) is an art history expert with over 20 years experience Given Marc's identification of blue with maleness, and the probability that Blue Horse I is to a degree a self-portrait, the blue mountain can be seen as the embodiment of Marc's aspirations - artistic and otherwise - which in their Later, Paul Klee, another associate, would also employ the triangle-mountain with great frequency.īecause of the importance of this form to Kandinsky, and the subsequent adoption by Marc and Klee, the triangle-mountain was likely a logo of Blue Rider ambitions by the time Yellow Cow was created. Marc, who was already a close friend of Kandinsky in 1911, was to write of him:Īt least there is a man who can move mountains - and how grandly he has done so to know this is inexpressively reassuring. With this description, the mountain, a prominent from in Kandinsky's paintings of 1911-14, possesses the same meaning he ascribed to the triangle. Hierarchical segmentation into spiritually advanced and conventional layers of human awareness, Kandinsky interjected another parallel: "An invisible Moses descends from the mountains and sees the dancing around the golden calf." ( in a similar spirit, the horse and rider later become equated with a circle.) In the course of his 1911 discussion of the triangle and its Impact of the triangle equaling the finger of God in The Creation of Adam by Michelangelo. Kandinsky dealt in typological parallels for example, he wrote of the abstract So important was the triangle to Kandinsky that he employed it as part of his signature in nearly all his prints throughout his career. In that book, he emphasized the significance of the triangle as a symbol of the striving soul of the individual and humanity in Wassily Kandinsky wrote Concerning the Spiritual in Art in 1911, at the time Yellow Cow was painted.
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