Franz Marc’s Blue Horse I (1911) antique wall art retro photo vintage prints Vertical Orientation exhibition Poster

Museum-quality posters made on thick matte paper. Add a wonderful accent to your room and office with these posters that are sure to brighten any environment.

• Paper thickness: 10.3 mil
• Paper weight: 189 g/m²
• Opacity: 94%
• ISO brightness: 104%
• Paper is sourced from Japan

In 1911, the same year “Yellow Cow” was painted, Wassily Kandinsky authored “Concerning the Spiritual in Art.” In this book, he emphasized the deep significance of the triangle as a representation of the striving soul of the individual and humanity at large. The triangle held such importance for Kandinsky that he incorporated it into his signature in almost all his prints throughout his artistic journey. He drew typological parallels, linking the abstract impact of the triangle to the gesture of God’s finger touching Adam in Michelangelo’s “The Creation of Adam.” In a similar vein, Kandinsky would later connect the image of a horse and rider to a circle.

Within his discourse on the triangle’s hierarchical divisions, Kandinsky introduced another comparison: “An invisible Moses descends from the mountains and sees the dancing around the golden calf.” Here, the mountain, a prominent motif in Kandinsky’s works from 1911 to 1914, carries the same symbolism ascribed to the triangle. Marc, who shared a close friendship with Kandinsky in 1911, would later write of him, stating that there was a man capable of moving mountains – a grand feat indeed.

Subsequently, Paul Klee, another associate, would also frequently incorporate the triangle-mountain motif into his own art. As the triangle-mountain form gained significance in Kandinsky’s, Marc’s, and Klee’s works, it likely evolved into a symbol of the ambitions of the Blue Rider movement by the time “Yellow Cow” came into being.

Considering Marc’s attribution of maleness to the color blue and the possibility that “Blue Horse I” is a partial self-portrait, the blue mountain could be interpreted as the embodiment of Marc’s artistic and personal aspirations. This spiritual dimension harmoniously complements the sensuality associated with the yellow cow. If “Yellow Cow” is in some way symbolic of Maria, and the blue mountains are an extension of Marc’s identity, then the artwork takes on the nature of a wedding portrait for the newly united couple.

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