Franz Marc. (1880-1916). Foxes. 1913,
From 1910 Franz Marc starts to leave one crisis period. Its manner yet too naturalist does not correspond so that he seeks to express. Its meeting with Auguste Macke, which makes it enter to the New Association Artists of Munich, and with Wassily Kandisky, with which it founds the blue Rider, all will change. Obsessed by the topic of the animal, made thirsty for absolute and seeking to express the unit of all that saw, Franz Marc will use the abstract art, here the cubism, to invent a space without depth of field which connects the subject to the landscape. The central theme and the objective of the painting of the artist are the mystical union between the man and nature. Thus the shapes of the animals marry contours of the trees or of the hills and the men and the animals are equal. The subject like is absorbed by the environment and it appears as an identifiable being but its forms are based in the landscape. For him the colour is not directly related to the subject but is put at the service of what he seeks to express. The cubism breaks the rules of the prospect and presents the subject seen under multiple plans. Marc makes use of this provision to release itself completely. It is known that in Franz Marc the colours have values symbolic systems, blue is male and spiritual the yellow is female soft and merry, the red expresses violence. Thus the blue horse of the blue Rider forever be a mare… To mitigate the effect of a red orange here the artist balances by using yellow to soften it and green, colour of nature. What is remarkable in this painting it is that association between the geometrical forms containing the triangle and the tonality of the colours used express perfectly the image of the animal and the emotion which it gives birth to us.
But you do not trust there too much. The vision of the painter is pantheist and its work is impressed of mysticism. Contrary to this work or the things are simple, sometimes the relationship between the abstract or futuristic forms and the tonality of the colours can become delicate to decode and all can become complicated quickly.
The point of view of the spectator is just above the geometrical center of the picture. Between the 2 foxes.
A head is laid out on the higher tension field, between 2 natural points of interest.
The head of the second fox is low and on the right near to the natural point of interest lower right.
The dark zones and the cold colours are especially on the sides.
The hot colours are gathered especially in the center and upwards.
The base form of this composition is the triangle. The artist uses the 2 large diagonals according to the orientation of the geometrical figures.
The profile of the animal easily is recognized. The remainder of the body, the legs, the tail, are overlapping in a prism with the elements of nature.
From 3 quarter one recognizes the animal even more easily. This animal is rather familiar for us. The artist did not forget the moustache.
In top on the right one guesses part of the sun. Other elements of nature are identifiable. A code colour should be used. What is green represents grass, which is maroon dark the trees, which is orange clear constitutes the peeling of the animal on certain parts of its body.
Light : The clearest zones and hottest are in the center.
Colours: Contrasts between hot and cold colours.
Similars Paintings :
The Monkey. 1912.
Deer in the Forest. 1913.
Fighting forms. 1914.