Franz Marc: "Reh in the monastery garden" (1912), reproduction on cardboard

Franz Marc: "Reh in the Klostergarten" (1912), reproduction on cardboard

Image "Reh in the monastery garden" (1912), framed

4-colored grid-free reproduction on artist box. Blatt format 66 x 46 cm (b/h). Framed in silver solid wood frames with a passing party, glazed. Format 71 x 60 cm (b/h).

Rehe appeared more often as a motif of the artist and co -founder of the artist community "The Blue Rider". This may have been due to the fact that he held two orphaned deer in his garden in Sindelsdorf, south of Munich. In 1911 Marc painted his deer in more robust forms and more realistic colors, even if he had already moved away from the pure natural reproduction.

Original: oil on canvas, municipal gallery in the Lenbachhaus, Munich.

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Special feature(s) / Context / About the artist:

Franz Marc spent many hours to watch animals in their habitat. The German painter tried to see nature with the eyes of the deer. So he let the area penetrate the animal and the deer became an integral part of it to be one with her.

In 1912 Marc met the dynamics of the Italian futurists and in Paris the colors of Cubism, "Orphism", from Robert Delaunay. From then on he deviated from his naturalistic representation and structured the image surface with radiation -shaped colored areas. Combined with the light-dark contrasts, shining and atmospheric paintings are created.

Marc dealt with naturalism, Art Nouveau and French Impressionism, but was looking for a new expressions in order to be able to represent "the spiritual being of things". With a consequence that was never known before, he opened the way for an art, in which colors gained a symbolic meaning far beyond the naturalistic representation: "Every color must clearly say who and what it is and must be on a clear form," said Marc. Blue is the color of the spiritual, red are love, passion and vulnerability, yellow is the sun and femininity.

The focus of his painting was in particular, as they symbolized originality and purity in contrast to people. Just like Kandinsky, he searched for the renewal of the spiritual in art.

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