拍品專文
Franz Marc was born in Munich on 8 February 1880 and studied at the Münchner Kunst Akademie. He travelled several times to Paris, most importantly in 1907, where he saw the work of Gauguin, van Gogh and Cézanne. Four years later, in 1911, he founded Der Blaue Reiter with Kandinsky. Together, they organised two Der Blaue Reiter exhibitions in December 1911 and March 1912. Only 9 works by Marc were included in these pivotal shows including Zwei liegende Akte which was exhibited in the second of these exhibitions.
In this second show artists outside the Blaue Reiter group were also exhibited, including Nolde, Kirchner and Pechstein from the Brücke group of Dresden, Picasso, Derain and Braque from Paris, and Gontcharova, Larionov and Malevich from Russia. "By assuming a Pan-European approach, the Blue Rider founders represented in exhibition form the principal notion of Der Blauer Reiter: a united spiritual outlook." (M. Rosenthal, Franz Marc, Munich, 1989, p. 28.)
It was not until his encounters with August Macke in 1910, and Kandinsky a year later, that Marc developed his wonderfully strong understanding of colour. Like Kandinsky he developed a personal symbolism for the use of colour, ascribing spirituality and maleness to blue, femininity and sensuality to yellow and materiality to red. "Every colour must say clearly 'who and what' it is, and must, moreover, be related to a clear form." (A. Macke and F. Marc, Briefwechsel, Cologne, 1964, p. 28.)
In 1912 Marc turned his attention to figurative subjects, illustrating his constant concern with the relationship between animals and humans. Sleep is an especially prominent theme in these works, as is apparent in Zwei liegende Akte and Die Hirten (Lankheit 173), 1912, currently on loan to the Staatsgalerie Moderner Kunst, Munich (see Fig. 1). Marc believed that sleep captured "the intimate reality of things, our dream life, the true life" (Franz Marc, Briefe 1914-1916 Aus dem Felde, Berlin, 1959, p.53). In the present work, the atmosphere of contemplation and dreaming is enhanced by the rich formal relationship created between the figures and the landscape, and is reflected in the rhythmic curves uniting the figures with the hills behind.
Mark Rosenthal continues "His sentiment suggests that an image of dreaming figures represents a paradisiacal scene of humanity...Related by gesture, or at times by colour, animal and human spheres are empathetically united. Thus in 1912, Marc proposes a positive future for humanity in keeping with the ideas and goals stated in Der Blaue Reiter" (op. cit., p. 28).
Zwei liegende Akte was included in the major retrospective exhibition organised by the Munich Sezession in 1916.
In this second show artists outside the Blaue Reiter group were also exhibited, including Nolde, Kirchner and Pechstein from the Brücke group of Dresden, Picasso, Derain and Braque from Paris, and Gontcharova, Larionov and Malevich from Russia. "By assuming a Pan-European approach, the Blue Rider founders represented in exhibition form the principal notion of Der Blauer Reiter: a united spiritual outlook." (M. Rosenthal, Franz Marc, Munich, 1989, p. 28.)
It was not until his encounters with August Macke in 1910, and Kandinsky a year later, that Marc developed his wonderfully strong understanding of colour. Like Kandinsky he developed a personal symbolism for the use of colour, ascribing spirituality and maleness to blue, femininity and sensuality to yellow and materiality to red. "Every colour must say clearly 'who and what' it is, and must, moreover, be related to a clear form." (A. Macke and F. Marc, Briefwechsel, Cologne, 1964, p. 28.)
In 1912 Marc turned his attention to figurative subjects, illustrating his constant concern with the relationship between animals and humans. Sleep is an especially prominent theme in these works, as is apparent in Zwei liegende Akte and Die Hirten (Lankheit 173), 1912, currently on loan to the Staatsgalerie Moderner Kunst, Munich (see Fig. 1). Marc believed that sleep captured "the intimate reality of things, our dream life, the true life" (Franz Marc, Briefe 1914-1916 Aus dem Felde, Berlin, 1959, p.53). In the present work, the atmosphere of contemplation and dreaming is enhanced by the rich formal relationship created between the figures and the landscape, and is reflected in the rhythmic curves uniting the figures with the hills behind.
Mark Rosenthal continues "His sentiment suggests that an image of dreaming figures represents a paradisiacal scene of humanity...Related by gesture, or at times by colour, animal and human spheres are empathetically united. Thus in 1912, Marc proposes a positive future for humanity in keeping with the ideas and goals stated in Der Blaue Reiter" (op. cit., p. 28).
Zwei liegende Akte was included in the major retrospective exhibition organised by the Munich Sezession in 1916.