![]() The blue hills in the background echo the shape of the cow's haunches. The cow dominates the foreground of the dreamlike composition, exuding a mood of blissful serenity as it leaps over the rocky landscape in the foreground. 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. To Franz Marc, horses symbolize and represent freedom and purity of spirit.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. Looking at his painting Blue Horse one can sense the vibrance of the colors and the strong blue. Red is the matter, brutal and heavy and heavy and always the color that the other two must oppose and overcome!”įranz Marc chooses animal paintings as they symbolize and represent an existence before the fall of Eden and pure innocence. Yellow is the female principle, gentle, gay, and sensuous. ![]() “Blue is the masculine principle, astringent, and spiritual. With the vivid blue being dominant and focus color on this oil painting. In 1911, he also created his famous painting “Der Blaue Reiter” after which he named his first exhibition.įor his famous oil painting Blue Horse (Blaues Pferd) he used mostly blue, yellow, red, and green colors. Later the exhibition also showed in other cities such as Berlin, Cologne, Frankfurt, and Hagen. It was first displayed in Munich Germany at the first “Der Blaue Reiter” exhibition, which was held at the Thannhauser Gallery in Munich from December 1911 till January 1912. Blue Horse Painting Franz Marc – Oil Painting Reproductionīlue Horse or Blaues Pferd was created in 1911 by the German expressionist painter Franz Marc.
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