Franz Marc: Artist

“It is impossible to explain the latest works of these wild men | that is, the artists of Der Blaue Reiter, and Die Brücke, [working in Munich, and Berlin] in terms of a formal evolution and a reinterpretation of Impressionism. The loveliest prismatic colors and the famous Cubist style have become meaningless in terms of the objectives of the iconoclasts. Their thinking has a different aim: with their labor, they want to create symbols for their era. symbols that belong on the altars of the coming spiritual religions behind which the technical producer will vanish.”

Franz Marc

Quote of Franz Marc, in his text in the Almanac of the 'Blaue Reiter', 1912; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 95
1911 - 1914

Men , Religion , Color , Thinking

“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.”

Franz Marc

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

Spring , Idea , Future

“All the pictures [in the exhibition, 1910] include a plus-factor, which robs the public [in Munich] of her pleasure but which is in every case the principal merit of the work; the completely spiritualized, de-materialized awardness of perception, which our fathers, the artists of the nineteenth century, never even tried to achieve in their 'pictures'. This bold undertaking, to take the 'matiere', which Impressionism sank its teeth into, and spiritualize it, is a necessary reaction, which began with Gauguin in Pont-Aven, and has already fostered innumerable experiments… The way the Munich public condemns the exhibition is almost amusing.”

Franz Marc

Franz Marc's note on the reception of the second exhibition of the 'Neue KünstlerVereinigung' in Munich, September 1910; as cited by , in Expressionism; Praeger Publishers, New York, 1973, p. 125
1905 - 1910

Pleasure , Way

“The people itself ( and I do not mean the 'masses') has always given art its essential style. The artist merely clarifies and fullfils the will of the people. But when the people does not know what it wants, or worst of all, wants nothing.... then its artists, driven to seeking their own forms, remain isolated, and become martyrs... Folk art – that is, the feeling of people for artistic form – can arise again only when the whole jumble of worn-out art concepts of the nineteenth century has been wiped from the memory of generations.”

Franz Marc

Max Beckmann's opinion on this issue you find in: 'Quotes About Franz Marc', below
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445-446

People , Art , Feeling , Memory

“Is there any more mysterious idea for an artist than the conception of how nature is mirrored in the eyes of an animal? How does a horse see the world, or an eagle, or a doe, or a dog?”

Franz Marc

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

World , Dogs , Idea , Nature

“There is little abstract art, today, and what there is is stammering and imperfect. It is an attempt to let the world speak for itself, instead of reporting the speech of mind excited by their picture of the world. The Greek, The Gothic, and the Renaissance artist set forth the world the way he saw it, felt it, and wished to have it; man wished above all to be nourished by art; he achieved his desire but sacrificed everything else to this one aim: to construct homunculus, to substitute knowledge for strength and skill for spirit. The ape aped his creator. He learned to put art itself to the ends of trade..”

Franz Marc

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

World , Art , Way , Knowledge

“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.”

Franz Marc

co-authored with Wassily Kandinsky
1911 - 1914
Source: 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 , Understanding

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

World , Feeling , Flowers , Sense

“The art of the future will give form to our scientific convictions; this is our religion and our truth, and it is profound and weighty enough to produce the greatest style and the greatest revaluation of form that the world has ever seen. Today, instead of using the laws of nature as a means of artistic expression, we pose the religious problems of a new content. The art of our time will surely have profound analogies with the art of primitive periods long past, without of course, the formalistic similarities now senselessly sought by many archaist artists [Marc rejects abstraction of Cubism, among others]. And our time will just as surely be followed in some distant, ripe, late European future by another period of cool maturity, which in its turn will again set up its own formal laws and traditions. [written at the front of World War 1.”

Franz Marc

near Verdun, 1915]
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 446

War , Truth , World , Religion

“What appears spectral today will be natural tomorrow. Where are such signs and works? How do we recognize the genuine ones? Like everything genuine, its inner life guarantees its truth. All works of art created by truthful minds without regard for the work's conventional exterior remain genuine for all times... The present isolation of the rare, genuine artist is absolutely unavoidable for the moment... This fact leads us to the idea that we are standing today at the turning point of two long epochs, similar to the state of the world fifteen hundred years ago, when there was also a transitional period without art and religion - a period in which great and traditional ideas died and new and unexpected ones took their place.”

Franz Marc

1911 - 1914, The 'Savages' of Germany' (1912)