弗兰茨·马尔克全部影视作品
首发于 qinglite.cn，统计截止日：2024-12-24
 死麻雀 | - |
| 小马习作 | - |
| 小马图片 | - |
| 因德尔斯多尔夫 | - |
| 自画像 | - |
| 山坡上的两个女人 | - |
| 海风中的女人 | - |
| 达豪沼泽上的小屋 | - |
| 艺术家的母亲的肖像 | - |
| 马的头部 | - |
| 蓝色大马 | 弗兰茨 马尔克认为艺术的「动物化」能唤醒万物心中的某种神性。笔下的动物都以一种英雄的、甚至沉思的形式来呈现，激起恢宏壮丽的感受。《蓝色大马》以蓝色构成的三匹马占据空间，低首闭眼，从温暖绚丽的背景中突起，安详而温和。鲜艳明确的色彩，起伏有致的曲线营造出宁静感人的世界。 |
| 动物的命运 | This work is also characteristic of the sense of apocalypse and doom which began to taint Marc's work at this time and could be related to his feelings on the impending war. In a 1915 letter to his wife Maria, Marc explains that this change in his art occurred because he began to see the ugliness in animals which he had previously thought only existed in humans. He states that he was no longer able to see the beauty which animals had once represented for him. The animal motifs which once conveyed a sense of emotion no longer held their appeal and possibility. The application of paint and the division of the picture plane through the use of lines and geometric shapes now carried the emotional charge previously conveyed by animals. This change may be related to Marc's ideas on the impending war. In apprehension of the First World War, Marc was part of the school of thought that the war would purify and redeem the universe of all that was bad. Marc no longer saw animals as separate entities in their own perfect kingdom, as he had once represented them. At the point when Marc began to identify the ugliness in animals, he recognized them as part of the universe which man also inhabited and which was in need of redemption. |
| 蓝狐 | - |
| 牛(公牛) | - |
| 黄色的牛 | - |
| 泰洛尔的不幸之地 | - |
| 死去的鹿 | - |
| 童话动物 | - |
| 瞪羚 | - |
| 蹲伏的鹿 | - |
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