Frases de Franz Marc

Franz Moritz Wilhelm Marc , conocido simplemente como Franz Marc, fue un pintor representante del expresionismo alemán del siglo XX. Es conocido por los retratos de animales realizados durante su periodo expresionista, los cuales se caracterizan por la brillantez de sus colores primarios; los cuales están inspirados en la paleta de Robert Delaunay, la simplicidad, la fuerza vital de la naturaleza y un profundo sentido de emoción; usando para ello colores significativos: azul para la austeridad masculina y lo espiritual, amarillo para la alegría femenina y el rojo para la violencia. Su estilo evolucionó del impresionismo al simbolismo, pasando por el cubismo, el futurismo y el expresionismo, llegando finalmente a una sobria abstracción. Su interés primario como artista era plasmar su veneración mística del mundo animal, del cual sentía especial predilección por caballos y cuervos; despreciando al ser humano, el cual no considera digno de retratarse. Intenta representar así el mundo tal como lo ve el animal, mediante la simplificación formal y cromática de las cosas. De estilo paisajista en sus inicios, Marc se vio prontamente influenciado por el japonismo y el impresionismo francés, el cual descubrió en un viaje que hizo a París cuando contaba con 23 años en 1903. Además, hay teorías que sostienen que pudo tener un contacto directo con la pintura rupestre prehistórica ya que era un tema candente en su época. Se cree que dichas pinturas rupestres como las de las cuevas de Altamira pudieron tener que ver con su manera de representar a los animales en sus obras.

El martes 5 de febrero de 2008 en la casa de subastas Sotheby's de Londres fue vendido el cuadro "Weidende Pferde III" de 1919 por un valor de €17,3 millones de euros ; el valor más alto alcanzado por una obra de Franz Marc.[1]​[2]​ Este cuadro era el único de esta serie en manos privadas y se desconoce quién lo adquirió.[3]​[4]​ Wikipedia  

✵ 8. febrero 1880 – 4. marzo 1916
Franz Marc Foto
Franz Marc: 35   frases 0   Me gusta

Franz Marc: Frases en inglés

“The editors of the Blaue Reiter will now be the starting point for new exhibitions... We will try to become the center of the new movement. The association may assume there the role of the new”

Scholle
Quote from a letter to his brother (4 Dec. 1911); as cited in 'Lankheit, Almanac 14'; as quoted in 'Leaders', in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 67
1911 - 1914

“I can in no other way overcome my imperfections and the imperfections of life than by translating the meaning of my existence into the spiritual, into that which is independent of the mortal body, that is, the abstract.”

Quote, (August 1914); as quoted in Franz Marc, horses, ed. Christian von Holst, Hatje Cantz Publishers, (undated), 15 December 1914, p.34
by the outbreak of World War 1. in August 1914 the animals had disappeared in Marc's art. Only colours and forms – the abstract – had to evoke the spiritual]
1911 - 1914

“Don't worry, I will come through, and I'm also fine as far as my health goes. I feel well and watch myself.”

In a letter to his wife Maria (4 March 1916, the day he died by shrapnel), in Letters from the war: Franz Marc, new edition by Klaus Lankheit & Uwe Steffen, American University Studies, Vol. 16, p. 113
1915 - 1916

“I cannot get over the strange conflict between my estimation of their ideas [the artists of Italian Futurism ] most of which I find brilliant and fruitful, and my view of the [their] pictures [he saw on the Walden exhibition in Berlin, Spring 2012], which strike me as, without a doubt, utterly mediocre.”

In a letter to Wassily Kandinsky, 1912; as quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 309 (note 23)
[in a letter, several months later to August Macke Franz Marc writes about the Futurist paintings he saw in Munich: '[Their] effect is magnificent, far, far more impressive then in Cologne' (where Marc had helped Macke with hanging the Futurist exposition)].
1911 - 1914

“The harvest of your Summer [1910] is displayed on our walls. I like some of them terrifically. The 'certainty' with which most of it is done makes me feel ashamed of myself. The thousand steps that I need to take for a picture are of no advantage, as I sometimes foolishly used to think. Things must change.”

In a letter to August Macke, Nov. 1910; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 128
Franz Marc is reacting on Macke who focused in his exhibited works strongly on the independent power of color
1905 - 1910

“The impure men and women who surrounded me (and particularly the men), did not arouse any of my real feelings; while the natural feeling for life possessed by animals set in vibration everything good in me.”

from the front of World War 1.
In a letter to his wife, April 1915; as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444
1915 - 1916

“For days I have seen nothing but the most awful scenes that the human mind can imagine... Stay calm and don't worry: I will come back to you – the war will end this year. I must stop; the transport of the wounded, which will take this letter along, is leaving. Stay well and calm as I do.”

from the battlefield at Verdun
In a letter to his wife Maria (2 March 1916), from the battlefield at Verdun; as cited in Letters from the war: Franz Marc, new edition by Klaus Lankheit & Uwe Steffen, American University Studies, Vol. 16, p. 113
1915 - 1916

“In war we are all equal, but among a thousand good men, a bullet hit an irreplaceable one... We painters know well that with the loss of his harmony [ of August Macke ], the color in German art will become many shades paler..”

Quote of Franz Marc, in exhibition-text 'Die Blaue Reiter', Gemeentemuseum the Hague, Netherlands 2010
c. 1914/15, on the death of his close friend August Macke, who fell in the first months of World War 1.
1915 - 1916

“I am sure of one thing: many silent readers and young people full of energy will secretly be grateful to us, will be fired by enthusiasm for this book [the Blaue Reiter Almanac ] and will judge the world in accordance with it.”

Quote in a letter to Kandinsky, (c. Dec. 1911), quoted in 'Vezin 150'; as quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 67
1911 - 1914

“A musical event in Münich has brought me a great dolt.... an evening of chamber-music by Arnold Schoenberg (Vienna).... the audience behaved loutishly, like school brats, sneezing and clearing their throats, when not tittering and scraping their chairs, so it was hard to follow the music. Can you imagine a music in which tonality (that is, the adherence to any key) is completely suspended? I was constantly reminded of Kandinsky's large composition which also permits no trace of tonality.... and also of Kandinsky's 'jumping spots' in hearing this music [of Schoenberg], which allows each tone sounded to stand on its own (a kind of white canvas between the spots of color). Schönberg proceeds from the principle that the concepts of consonance and dissonance do not exist at all. A so-called dissonance is only a mere remote consonance – an idea which now occupies me constantly while painting..”

In a letter to August Macke (14 January 1911); as quoted in August Macke; Franz Marc: Briefwechsel, Cologne 1965; as quoted in Boston Modern - Figurative Expressionism as Alternative Modernism, Judith Bookbinder, University Press of New England, Hanover and England, 2005, p. 35
Franz Marc visited a concert with music of the composer Arnold Schönberg on 11 Jan. 1911 with Wassily Kandinsky, Alexej von Jawlensky, Gabriele Münter and others; they played there compositions of Schönberg he wrote in 1907 and 1909: his second string quartet and the 'Three piano pieces'
1911 - 1914

“Art today is moving in directions of which our forebears had no inkling; the Horsemen of the Apocalypse are heard galloping through the air; artistic excitement can be felt all over Europe – new artists are signalling to one another from all sides; a glance, a touch of the hand, is enough to convey understanding.”

co-authored with Wassily Kandinsky
1911 - 1914
Fuente: Franz Marc's Manifesto for 'the Blaue Reiter' group, (1912); as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 207

“Art is nothing but the expression of our dream; the more we surrender to it the closer we get to the inner truth of things, our dream-life, the true life that scorns questions and does not see them.”

quote from Franz Marc's note in 1907, he wrote down on his return from Paris; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 126
1905 - 1910

“I walked [along impressionist paintings in the Paris' museums, 1907] like a roe-deer in an enchanted forest, for which it has always yearned.”

as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 126
1905 - 1910

“I am trying to intensify my feeling for the organic rhythm in all things, trying to establish a pantheistic contact with the tremor and flow of blood in nature, in animals, in the air – trying to make it all into a picture, with new movements and with colours that reduce our old easel paintings to absurdity.”

Quote in Marc's letter to the publisher Reinhard Piper, 1908, as cited in Letters of the great artists – from Blake to Pollock, ed. Richard Friedenthal, Thames and Hudson, London, 1963, p. 207
1905 - 1910

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