“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..”

— Franz Marc

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

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Franz Marc 35

German painter 1880–1916

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Franz Marc 35

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