Franz Moritz Wilhelm Marc (8 February 1880 – 4 March 1916)[1] was a German painter andprintmaker, one of the key figures ofGerman Expressionism. He was a founding member ofDer Blaue Reiter (The Blue Rider), a journal whose name later became synonymous with the circle of artists collaborating in it.
His mature works mostly are animals, and are known for bright colors. He was drafted to serve in theGerman Army at the beginning of World War I, and died two years later at theBattle of Verdun.
In the 1930s, the Nazis named him adegenerate artist as part of their suppression of modern art.[2] However, most of his work survived World War II, securing his legacy. His work is now exhibited in many eminent galleries and museums. His major paintings have attracted large sums, with a record of £42,654,500 forDie Füchse (The Foxes) in 2022.[3]
Franz Marc was born in 1880 in Munich, the then capital of theKingdom of Bavaria. His father, Wilhelm Marc, was a professionallandscape painter; his mother, Sophie, was a homemaker and a devout, socially liberalCalvinist. At the age of 17 Marc wanted to study theology, as his older brother Paul had.[4] Two years later, however, he enrolled in the arts program ofMunich University. He was first required to serve in the military for a year, after which, in 1900, he began studies instead at theAcademy of Fine Arts, Munich, where his teachers includedGabriel von Hackl andWilhelm von Diez.[5] In 1903 and 1907, he spent time in France, particularly in Paris, visiting the museums in the city and copying many paintings, a traditional way for artists to study and develop technique. In Paris, Marc frequented artistic circles, meeting numerous artists and the actressSarah Bernhardt. He discovered a strong affinity for the work of painterVincent van Gogh.[5] After the 1903 trip, he ceased attending the Academy of Fine Arts.[citation needed]
During his 20s, Marc was involved in a number of stormy relationships, including an affair lasting for many years with Annette Von Eckhardt, a married antique dealer nine years his senior. He married twice, first toMarie Schnür, then toMaria Franck; both were artists.[citation needed]
In 1906, Marc traveled with his elder brother Paul, aByzantine expert, toThessaloniki,Mount Athos, and various other Greek locations. A few years later, in 1910, Marc developed an important friendship with the artistAugust Macke. In 1910 Marc paintedNude with Cat andGrazing Horses, and showed works in the second exhibition of theNeue Künstlervereinigung (New Artists' Association, of which Marc was briefly a member) at theThannhauser Galleries inMunich.[6]
In 1911, Marc founded theDer 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 theNeue Künstlervereinigung movement. Though Marc showed several of his works in the firstDer Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912, as it was the apex of the Germanexpressionist movement, the exhibit also showed in Berlin, Cologne, Hagen, and Frankfurt. In 1912, Marc metRobert Delaunay, whose use of color and thefuturist method was a major influence on Marc's work; fascinated by futurism andcubism, Marc created art that increasingly was stark in nature, painting natural abstract forms which found spiritual value in color.[7] He paintedThe Tiger andRed Deer in 1912 andThe Tower of Blue Horses,The Foxes, andFate of the Animals in 1913.[6]
The military person's estate of Franz Marc on display in a museum
With the outbreak ofWorld War I in 1914, Marc was drafted into theImperial German Army as a cavalryman. By February 1916, as shown in a letter to his wife, he had gravitated tomilitary camouflage. His technique for hiding artillery from aerial observation was to paint canvas covers in broadlypointillist style. He took pleasure in creating a series of nine such tarpaulin covers in styles varying "fromManet toKandinsky", suspecting that the latter could be the most effective against aircraft flying at 2,000 metres (6,600 ft) or higher.[8]
By 1916, he had been promoted to lieutenant and awarded theIron Cross.[9]
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 theBattle of Verdun in 1916 before orders for reassignment could reach him.[10]
Marc made some sixty prints inwoodcut andlithography. Most of his mature work portrays animals,[11] 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.
One of Marc's best-known paintings isTierschicksale (Animal Destinies orFate of the Animals), which hangs in theKunstmuseum Basel. Marc had completed the work in 1913, when "the tension of impending cataclysm had pervaded society", as one art historian noted.[12] On the rear of the canvas, Marc wrote, "Und Alles Sein ist flammend Leid" ("And all being is flaming agony").[12][13] 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."[14]
Nazi Germany and the seizure of so-called "degenerate" art
After theNational Socialists took power, they suppressed modern art; in 1936 and 1937, the Nazis condemned the late Marc as anentarteter Künstler (degenerate artist) and ordered approximately 130 of his works removed from exhibition in German museums. TheBlue Horses was auctioned off at the infamousTheodor Fischer gallery "degenerate art" sale in Lucerne, on 29 June 1939, and acquired by the Musée des Beaux-Arts in Liège.[15] His paintingLandscape With Horses was discovered in 2012 along with more than a thousand other paintings, in the Munich apartment ofCornelius Gurlitt whose father,Hildebrand Gurlitt, was one of Hitler's four official art dealers of Modernist art the Nazis called "degenerate" which the Nazis sold or traded to raise cash for the Third Reich.[16][17]
In 2017, the family ofKurt Grawi demanded the restitution of Marc's paintingThe Foxes (1913) from Düsseldorf's Kunstpalast. Grawi, a German Jewish banker who had owned the painting before the Nazis rose to power[18] was arrested onKristallnacht and incarcerated inSachsenhausen concentration camp in 1938, before he managed to flee to Chile in 1939. The painting passed throughGalerie Nierendorf, and William and Charlotte Dieterle, according to the German Lost Art Foundation.[19] In 2021, the German Advisory Commission recommended that the city of Düsseldorf restitute the painting to Grawi's heirs;[20][21] this was done, and the painting was sold at Christie's by Grawi's heirs in 2022.[22][23]
Marc's family house in Munich is marked with a historical plaque. TheFranz Marc Museum which is located in Kochel am See, opened in 1986 and is dedicated to the artist's life and work. It houses many of his paintings, and also works by other contemporary artists.[24]
In October 1998, several of Marc's paintings garnered record prices at Christie's art auction house in London, includingRote Rehe I (Red Deer I), which sold for $3.3 million. In October 1999, hisDer Wasserfall (The Waterfall) was sold by Sotheby's in London for $5.06 million. This price set a record for Franz Marc's work and for twentieth-century German painting. In 2008, the former record was again broken when Marc'sWeidende Pferde III (Grazing Horses III) was sold for £12,340,500 ($24,376,190) at Sotheby's.[25][26][27] This record was again beaten by the £42.6m sale ofThe Foxes in 2022.[28]
^"German Nazi-looted art panel recommends return of Franz Marc's Foxes to heirs of Jewish banker".The Art Newspaper - International Art News and Events. 26 March 2021.Archived from the original on 26 March 2021. Retrieved29 March 2021.Grawi's heirs said he sold the painting purely because of his need to finance the family's escape. The advisory commission said in a press statement that a majority of its members—with three dissenters—believed the work should be restituted 'even though the sale was completed outside the National Socialist sphere of influence, and, in the light of information currently available, the payment of a fair price and the opportunity for free disposal are plausible.' The sale was nonetheless 'so closely connected with National Socialist persecution that the location of the event becomes secondary in comparison', the panel said.
^Selvin, Claire (14 April 2021)."Experts Recommend That German City Return Nazi-Looted Franz Marc Painting".ARTnews.com. Retrieved15 April 2021.The work has been in the Düsseldorf City Art Collection since 1962. Its original owner was the Jewish businessman and banker Kurt Grawi, who bought the painting in 1928 and fled Europe to Chile after being imprisoned at the Sachsenhausen concentration camp in Germany. In a letter from 1939, Grawi wrote that the sale of Foxes in New York would fund his emigration from Europe.
.jpg)
