Marc also uses color and line repetition with the large yellow cow. This is most evident in the small herd of red cows grouped together at the left of the composition they are camouflaged, blending into the rocky, red landscape around them. His repetition of color connects the animals with their background. The combination of the two colors, then, indicates a merging of masculine and feminine, in a reference to his marriage to Franck. The blue spots on its hide represent the masculine, since he viewed blue as evoking masculine emotions. The large yellow cow represents the feminine, since Marc saw the color yellow as evoking feminine emotions. Marc built upon van Gogh's emotional use of color, by using colors to humanize natural forms in the landscape, emphasizing his own interest in pantheism. Van Gogh used color to represent emotion, but in his paintings identifiable features of the natural world remained. This composition is an early example of his use of color symbolism, a technique that had been pioneered by van Gogh, and by his friend August Macke. The cow represents the safety and security Marc felt in this, his second, marriage. Oil on canvas - Franz Marc Museum, Kochel am See, GermanyĪfter marrying Maria Franck in 1911, Marc painted The Yellow Cow as an homage to their union. This is one of the most visible techniques Marc employs to draw connections between the human body and nature. The repetition of lines, a style that would be prevalent in Marc's later work, is evident in the curved outlines of Maria Franck's reclining body, which are echoed by the curve of the hillside directly behind her. He used expressive, linear brushstrokes to depict the bodies of the two women, and the landscape is made up only of broad bands of color that only vaguely suggest depth on the flat plane of the canvas. Stylistically, the work is a fascinating hybrid of the loose brush strokes and flattened space of the Post-Impressionists and the greater abstraction that artists like Marc and other German expressionists would explore in the coming years. It is one of Marc's first attempts to depict a harmonious relationship between humans and nature, a theme that would only grow stronger over the course of his brief career. The painting depicts two fellow artists, Maria Schnur and Maria Franck, both of whom would also become his wives at different times. His Two Women on the Hillside (1906) is an excellent example of this new stylistic interest. His legacy continues to inspire many young artists today as they strive to create meaningful works that convey their unique perspectives on the world around them.After travelling to Paris in 1903, where he studied the works of the Post-Impressionists, Marc's style started to show a greater interest in color and form, with less attention paid to realism. He was an influential figure who helped shape German Expressionism through his use of bold colors and animal motifs. In conclusion, Franz Marc’s contribution to art cannot be overstated. He died tragically during World War I near Verdun, France, at the age of 36. Marc became one of the founding members of Der Blaue Reiter, an association of German Expressionist artists that aimed to promote abstract art and encourage individual expression. One of his notable works is “The Large Blue Horses” (1911), which features stylized blue horses on a yellow and green background. He had a strong affinity for animals and believed they were spiritual beings that could reconnect humans with nature. Marc’s mature works mostly depict animals, using simplified lines and vivid colors. Marc studied at the Academy of Fine Arts in Munich where he was exposed to French Impressionist paintings, which greatly influenced his artistic style. Born in Munich in 1880, he grew up surrounded by art as his father was a professional landscape painter. Franz Marc was a celebrated painter and printmaker of German Expressionism.
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