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 pr… - Franz Marc

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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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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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A musical event in Münich has brought me a great dolt.. ..an evening of chamber-music by Arnold Schoenberg (Vienna).. ..the audience behaved loutishly, like school brats, sneezing and clearing their throats, when not tittering and scraping their chairs, so it was hard to follow the music. Can you imagine a music in which tonality (that is, the adherence to any key) is completely suspended? I was constantly reminded of Kandinsky's large composition which also permits no trace of tonality.. ..and also of Kandinsky's 'jumping spots' in hearing this music [of Schoenberg], which allows each tone sounded to stand on its own (a kind of white canvas between the spots of color). Schönberg proceeds from the principle that the concepts of consonance and dissonance do not exist at all. A so-called dissonance is only a mere remote consonance – an idea which now occupies me constantly while painting..

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I make the most outrageous demands on my imagination and leave aside everything else, theory and nature study, as other people understand them. This is the only way I can work, drawing on nothing but my own faculty of imagination with I feed without stint – except in working hours.

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