弗朗兹.马克Franz Marc（1880年2月8日——1916年3月4日），德国画家。
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弗朗兹马克出生于1880年慕尼黑,然后的首都巴伐利亚王国。他的父亲威廉马克是一个专业山水画家;他的母亲,索菲娅,是一个家庭主妇,一个严格的加尔文主义的.
1900年马克开始研究美术学院,慕尼黑,包括他的老师加布里埃尔·冯·Hackl和威廉·冯·迪耶。在1903年和1907年,他花了时间法国,尤其是在巴黎市,参观博物馆和复制许多绘画,艺术家的传统方式来研究和开发技术。在巴黎,马克经常艺术圈,会议很多艺术家和演员莎拉·伯恩哈特。他发现一个强大的亲和力为画家的作品文森特·梵高.
1906年,马克和他的哥哥保罗拜占庭式的专家,塞萨洛尼基,阿陀斯山以及其他希腊的位置。几年后,在1910年,马克发达的一个重要的与艺术家的友谊8月Macke。1910年马画裸体猫和马吃草,并显示在第二个展览的工作莱纳Kunstlervereinigung(新艺术家协会)Thannhauser画廊在慕尼黑.[1]
1911年,马克创立了Der数日报》成为一个艺术家的中心圈,随着Macke,瓦西里•康定斯基和其他决定分拆的Neue Kunstlervereinigung运动。
Marc显示他的几个作品在第一Der数场展览在慕尼黑Thannhauser画廊在1911年12月至1912年1月之间。德国的顶点表现主义运动,展览还展示了柏林,科隆,哈根,法兰克福。1912年,马克罗伯特·德劳内的颜色和的使用未来学家马克的工作方法主要影响;对未来主义和着迷立体主义Marc创造艺术,越来越鲜明的和抽象的。1912年他画老虎和马鹿和塔蓝色的马,1913年狐狸,动物的命运。
的爆发伟大的战争1914年,马克被选拔到德国军队作为一个骑兵。到1916年2月,见给他妻子的信中,他被吸引军事伪装。他的隐藏炮兵从空中探测技术是油漆帆布覆盖广泛点彩派画家风格。他把快乐创造一系列的9个这样的防水帆布覆盖在不同风格”马奈来康定斯基”,怀疑后者可能是最有效的对飞机在2000米或更高。
德国军队的动员后,政府确定了著名的艺术家撤出战斗是为了他们的安全。马克在名单上,但击中头部,一块弹片在当场死亡凡尔登战役在1916年之前的订单分配可能达到他。
马克做了一些六十打印木刻和光刻技术。他大部分的成熟作品描绘了动物,通常在自然环境中。他的工作特点是明亮的原色,几乎立体派画家描绘的动物,鲜明的简单性和一种深刻的情感。甚至在他的时代,他的作品吸引了注意,在有影响力的圈子。马克给了一个情感意义或目的使用的颜色,他在他的工作:蓝色是用来描述男子气概和灵性,黄色代表女性的快乐,和红色包裹暴力的声音。后国家社会主义者上台,他们抑制现代艺术;在1936年和1937年,纳粹谴责Marc为末entarteter孔斯特勒(退化艺术家)和命令大约130他的作品从展览在德国博物馆。他的画“马景观”在2011年被发现与其他一千多画,慕尼黑公寓的科尼利厄斯Gurlitt经销商的父亲,希尔德布兰德Gurlitt现代主义艺术,是一个收藏家纳粹称为“堕落”。
马克最著名的画作之一是Tierschicksale(动物的命运或动物的命运),挂在Kunstmuseum巴塞尔。马克在1913年完成了工作,当“即将到来的灾难已经遍布社会的紧张”,正如一位艺术史学家指出。后方的画布上,马克写道,“和一切盛是flammend Leid”(“和所有被燃烧的痛苦”)。在第一次世界大战,马克写信给他的妻子画,“(它)就像一个预感war-horrible和粉碎。我很难想象画。”
二十多岁期间,马克卷入了一场狂风暴雨的关系,包括与安妮特·冯·外遇持续多年的时候,一位已婚的古董商九年他的高级。他结过两次婚,第一个玛丽她,然后玛丽亚弗兰克,两人都是艺术家。
In 1906, Marc traveled with his elder brother Paul, a Byzantine expert, to Thessaloniki,Mount Athos, and various other Greek locations. A few years later, in 1910, Marc developed an important friendship with the artist August Macke. In 1910 Marc painted Nude with Catand Grazing Horses, and showed works in the second exhibition of the Neue Künstlervereinigung (New Artists' Association) at the Thannhauser Galleries in Munich.
In 1911, Marc founded the Der Blaue Reiter journal, which became the center of an artist circle, along with Macke, Wassily Kandinsky, and others who had decided to split off from the Neue Künstlervereinigung movement.
Marc showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. As it was the apex of the German expressionist movement, the exhibit also showed in Berlin, Cologne, Hagen, and Frankfurt. In 1912, Marc met Robert Delaunay, whose use of color and the futuristmethod was major influence on Marc's work; fascinated by futurism and cubism, Marc created art that increasingly, was stark and abstract in nature. He painted The Tiger and Red Deerin 1912 and The Tower of Blue Horses, Foxes, and Fate of the Animals in 1913.
With the outbreak of the Great War in 1914, Marc was drafted into the German Army as a cavalryman. By February 1916, as shown in a letter to his wife, he had gravitated to military camouflage. His technique for hiding artillery from aerial observation was to paint canvas covers in broadly pointillist style. He took pleasure in creating a series of nine such tarpaulin covers in styles varying "from Manet to Kandinsky", suspecting that the latter could be the most effective against aircraft flying at 2000 meters or higher.
After mobilization of the German Army, the government identified notable artists to be withdrawn from combat for their own safety. Marc was on the list but was struck in the head and killed instantly by a shell splinter during the Battle of Verdunin 1916 before orders for reassignment could reach him.
Marc made some sixty prints in woodcut and lithography. Most of his mature work portrays animals,usually in natural settings. His work is characterized by bright primary color, an almost cubist portrayal of animals, stark simplicity and a profound sense of emotion. Even in his own time, his work attracted notice in influential circles. Marc gave an emotional meaning or purpose to the colors he used in his work: blue was used to portray masculinity and spirituality, yellow represented feminine joy, and red encased the sound of violence. After the National Socialists took power, they suppressed modern art; in 1936 and 1937, the Nazis condemned the late Marc as an entarteter Künstler (degenerate artist) and ordered approximately 130 of his works removed from exhibition in German museums. His painting “Landscape With Horses” was discovered in 2011 along with more than a thousand other paintings, in the Munich apartment of Cornelius Gurlitt whose dealer father, Hildebrand Gurlitt, was a collector of Modernist art the Nazis called “degenerate.”
One of Marc's best-known paintings is Tierschicksale (Animal Destinies or Fate of the Animals), which hangs in the Kunstmuseum Basel. Marc had completed the work in 1913, when "the tension of impending cataclysm had pervaded society", as one art historian noted.On the rear of the canvas, Marc wrote, "Und Alles Sein ist flammend Leid" ("And all being is flaming agony"). Serving in World War I, Marc wrote to his wife about the painting, "[it] is like a premonition of this war—horrible and shattering. I can hardly conceive that I painted it."
During his twenties, Marc was involved in a number of stormy relationships, including an affair lasting for many years with Annette Von Eckardt, a married antique dealer nine years his senior. He married twice, first to Marie Schnür, then to Maria Franck; both were artist
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