It can be sensed that there is a new religion arising in the country, still without a prophet, recognized by no one. Religions die slowly. But the ar… - Franz Marc

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It can be sensed that there is a new religion arising in the country, still without a prophet, recognized by no one. Religions die slowly. But the artistic style that was the inalienable possession of an earlier era collapsed catastrophically in the middle of the nineteenth century [German Romanticism? ]. There has been no style since.. .Since then, serious art has been the work of individual artists whose art has had nothing to do with 'style' because they were not in the least connected with the style or the needs of the masses. Their works arose rather in defiance of their times. They are characteristic, fiery signs of a new era that increase daily everywhere. This book [The 'Almanak'], initiated by Franz Marc & Kandinsky ] will be their focus..

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About Franz Marc

Franz Marc (February 8, 1880 - March 4, 1916) was a German painter, one of the key figures of German Expressionism. He was a co-founding member of Der Blaue Reiter (The Blue Rider), in Munich, together with Kandinsky. He is famous for his colorful animal-paintings.

Also Known As

Birth Name: Franz Moritz Wilhelm Marc
Alternative Names: Franz Moriz Wilhelm Marc Marc
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Additional quotes by Franz Marc

The harvest of your Summer is displayed on our walls. I like some of them terrifically. The 'certainty' with which most of it is done makes me feel ashamed of myself. The thousand steps that I need to take for a picture are of no advantage, as I sometimes foolishly used to think. Things must change.

In this time of the great struggle for a new art we fight like disorganized 'savages' against an old, established power. The battle seems to be unequal, but spiritual matters are never decided by numbers, only by the power of ideas. The dreaded weapons of the 'savages' are their new ideas. New ideas kill better than steel and destroy what was thought to be indestructible.

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All the pictures [in the exhibition, 1910] include a plus-factor, which robs the public [in Munich] of her pleasure but which is in every case the principal merit of the work; the completely spiritualized, de-materialized awardness of perception, which our fathers, the artists of the nineteenth century, never even tried to achieve in their 'pictures'. This bold undertaking, to take the 'matiere', which Impressionism sank its teeth into, and spiritualize it, is a necessary reaction, which began with Gauguin in Pont-Aven, and has already fostered innumerable experiments.. .The way the Munich public condemns the exhibition is almost amusing.

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