Franz Marc:
Picture "Two Horses" (1911/12), framed
Proportional view
Picture "Two Horses" (1911/12), framed
Franz Marc:
Picture "Two Horses" (1911/12), framed

Quick info

limited, 499 copies | reproduction, Giclée on real handmade watercolour paper | framed | glazed | size 40 x 53 cm (h/w)

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Product no. IN-791869

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Picture "Two Horses" (1911/12), framed
Franz Marc: Picture "Two Horses" (1911/12), framed

Detailed description

Picture "Two Horses" (1911/12), framed

It was an extremely eventful time in which the "Two Horses" were created: Franz Marc met August Macke in 1910, and on New Year's Day 1911, he met Gabriele Münter, Marianne Werefkin and Wassily Kandinsky for the first time - through Alexej Jawlensky. Thus, within a short time, the members of one of the most important groups of artists of the 20th century had been assembled. In December 1911, the "Blaue Reiter" was founded, and Kandinsky later said about the name: "We both loved blue, Marc - horses, and I - equestrian. That's how the name arose naturally".
The original work, which was painted in mixed media, belongs to the collection of the Kunsthalle Hamburg.

Museum reproduction in high-quality Fine Art Giclée process on finest real handmade watercolour paper. Limited edition of 499 copies. Noble solid wood framing in black with gold, matt patinated, dustproof glazed. Size 40 x 53 cm (h/w).

Portrait of the artist Franz Marc

About Franz Marc


Franz Marc's unique talent was recognised and encouraged at the Munich Academy. On several trips to Paris, he discovered the works of van Gogh for the first time, which made a significant impression on him and helped him to develop an independent artistic language. Through his friend August Macke, he met Wassily Kandinsky, Gabriele Münter and Alfred Kubin, with whom he founded the Expressionist artists' association "Der Blaue Reiter" in 1911. At the outbreak of World War I, Marc was drafted into military service and died two years later in the Battle of Verdun.

Marc examined Naturalism, Art Nouveau and French Impressionism, but sought a new language of expression in order to be able to depict "the spiritual essence of things". With unprecedented consistency, he approached a new form of art in which colours acquired a symbolic meaning far beyond naturalistic representation: "Every colour must clearly say who and what it is, and must be set on clear shapes", Marc explained. For him, blue is the colour of the spiritual, red is love, passion and vulnerability, yellow is the sun and femininity.

Animal, in particular, were the focus of his painting, as they, in contrast to people, symbolised originality and purity to him. Just like Kandinsky, he sought the renewal of the spiritual in art.