It was wild-not the wild of human beings, of reckless behavior and uncontrolled emotion, but the wild of nature. Small feathers floated in the air like seeds from a cottonwood tree. When the pigeon stopped moving, the hawk flew off, disappearing around a house. The hawk held the pigeon for several agonizing seconds, glancing around, eyes vivid. The other day, I was walking through my neighborhood when a Cooper’s hawk dropped from the sky and grabbed a pigeon on the sidewalk right in front of me. “Is there a more mysterious idea,” he asked, “than to imagine how nature is reflected in the eyes of animals?” He believed that animals had a more pure and direct relationship with the natural world. Marc in a letter to his friend, the artist August Macke, 1911Įarly on, Marc focused his artistic attention on animals, unique among his colleagues. I want to start like a child, to express my impression in front of nature with three colors and a few lines, and then add to forms and colors, where it requires the expression… They believed that art could reveal spiritual truths and that colors had symbolic meaning.įor Marc, blue was “astringent and spiritual.” Yellow is “gentle, gay and spiritual.” Red is the world of matter, “brutal and heavy and always the color to be opposed and overcome by the other two.” According to the Russian artist, “both of us loved blue, Franz Marc horses.” The members of the Blue Rider embraced a spontaneous, intuitive approach to art making and veered farther towards abstraction under the influence of cubism, fauvism, and futurism. In 1911–12, Marc and the artist Vasily Kandinsky founded the Blue Rider (Der Blaue Reiter), an artist group and journal named after one of Kandinsky’s paintings.
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