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  3. The Bewitched Mill
The Bewitched Mill, Franz Marc, 1913

The Bewitched Mill

1913 · Painting

Sul dipinto

Among the German Expressionists, artists who used strong color and exaggerated form to express emotional content, Franz Marc was especially committed to his empathic interest in the life of animals. "Is there a more mysterious idea," he asked, "than to imagine how nature is reflected in the eyes of animals?" Beginning in 1905, he devoted himself to representing the world with a fresh and purifying vision. Marc painted The Bewitched Mill following a sojourn to the Italian town of Merano in the southern Tirol. The work's title refers to the "magical" harmony he sensed there between human life, represented by the houses and mill on the left, and nature, embodied by the lyrical region of trees and animals on the right.

Art Institute of Chicago · CC BY 4.0

Scheda

1913 · a 33 anni
18801916
Numero di inventario
1931.522

Nel frattempo, nella vita di Franz Marc

Tutta la vita
  1. winter 1910 – 1911

    Winter 1910–11: the turn to his mature manner

    In the view of the writer Morgan Meis, Marc became an artist this very winter: out of earlier confusion comes a unified vision, his animals emerge pure and true from the canvas, and colour becomes the main thing.

  2. February 1911

    Meeting Wassily Kandinsky

    Although Marc joined the association in autumn 1910, he meets its leader, the Russian abstract painter Wassily Kandinsky, only in February 1911.

  3. December 1911

    Leaving the NKVM and founding Der Blaue Reiter

    In December 1911 Marc, together with Macke and Kandinsky, breaks away from the Neue Künstlervereinigung and organises his own group, Der Blaue Reiter; he is also credited with founding the journal that became the centre of the circle.

  4. December 1911 – January 1912

    The first Blue Rider exhibition

    Several of Marc's works are shown at the first Blue Rider exhibition at the Thannhauser Galleries in Munich, which has been called the apex of German Expressionism.

  5. 1913

    Married: Maria Marc

  6. 1914

    Called up at the start of the First World War

    At the outbreak of war in 1914 Marc, like August Macke, is mobilised and sent to the front; early biographers thought he had volunteered, but conscription was practically impossible to avoid.

Altre opere di Franz Marc

Tutte le opere

Sotto lo stesso tetto: Art Institute of Chicago

Pagina del museo

Sullo stesso tema · Century of Progress

Tutte le opere sul tema
Franz Marc, ritrattoFranz MarcGermania, 1880–1916

Si può ammirare?

Al momento non riceve

Art Institute of Chicago

Chicago, Stati Uniti

Appartiene alla collezione, ma al momento non è esposta.

Verificato
3 giorni fa
Ultimo cambio di stato
28 set 2026
Fonte
Il museo
Sulla mappaPagina del museo

Che cosa raffigura

Century of ProgressWorld's fairsChicago World's FairsDeersAnimaleBirdAlberoCitiesMechanicalMillsRiversAcqua

In catalogo

DipintiOlioPittura tedescaModernismoXX secoloGermania

Fonti

  • Art Institute of Chicago
  • Immagine: Art Institute of Chicago — CC0
Weasels at Play, Franz Marc, 1911

Weasels at Play

1911 · National Gallery of Art

Grazing Horses IV, Franz Marc, 1911

Grazing Horses IV

1911 · Harvard Art Museums

Vrouw met twee schapen, Franz Marc, 1890 - 1916

Vrouw met twee schapen

1890 - 1916 · Rijksmuseum

Bookplate Daniel Pesl I (Exlibris Daniel Pesl I), Franz Marc, (1901)

Bookplate Daniel Pesl I (Exlibris Daniel Pesl I)

(1901) · Non esposta · Museum of Modern Art

Bookplate (Exlibris), Franz Marc, (c. 1902)

Bookplate (Exlibris)

(c. 1902) · Non esposta · Museum of Modern Art

Bookplate Paul Marc I (Ex Libris Paul Marc I), Franz Marc, (1902)

Bookplate Paul Marc I (Ex Libris Paul Marc I)

(1902) · Non esposta · Museum of Modern Art

Bookplate Daniel Pesl II (Exlibris Daniel Pesl II), Franz Marc, (c. 1902)

Bookplate Daniel Pesl II (Exlibris Daniel Pesl II)

(c. 1902) · Non esposta · Museum of Modern Art

Book Plate Franz Marc II (Ex Libris Franz Marc II), Franz Marc, (1905)

Book Plate Franz Marc II (Ex Libris Franz Marc II)

(1905) · Non esposta · Museum of Modern Art

The Bedroom, Vincent van Gogh, 1889

Vincent van Gogh

The Bedroom, 1889

A Sunday on La Grande Jatte — 1884, Georges Seurat, 1884–86, border added 1888–89

Georges Seurat

Una domenica pomeriggio sull'isola della Grande-Jatte, 1884–86, border added 1888–89

Paris Street; Rainy Day, Gustave Caillebotte, 1877

Gustave Caillebotte

Strada di Parigi in un giorno di pioggia, 1877

Two Sisters (On the Terrace), Pierre-Auguste Renoir, 1881

Pierre-Auguste Renoir

Sulla terrazza, 1881

The Basket of Apples, Paul Cézanne, c. 1893

Paul Cézanne

il cesto di mele, c. 1893

Stacks of Wheat (End of Summer), Claude Monet, 1890–91

Claude Monet

Stacks of Wheat (End of Summer), 1890–91

American Gothic, Grant Wood, 1930

Grant Wood

American Gothic, 1930

Nighthawks, Edward Hopper, 1942

Edward Hopper

I nottambuli, 1942

American Gothic, Grant Wood, 1930

Grant Wood

American Gothic, 1930

Art Institute of Chicago

A Sunday on La Grande Jatte — 1884, Georges Seurat, 1884–86, border added 1888–89

Georges Seurat

Una domenica pomeriggio sull'isola della Grande-Jatte, 1884–86, border added 1888–89

Art Institute of Chicago

The Old Guitarist, Pablo Picasso, late 1903–early 1904

Pablo Picasso

Il vecchio chitarrista cieco, late 1903–early 1904

Non esposta · Art Institute of Chicago

At the Moulin Rouge, Henri de Toulouse-Lautrec, 1892/95

Henri de Toulouse-Lautrec

Al Moulin Rouge, 1892/95

Art Institute of Chicago

Two Sisters (On the Terrace), Pierre-Auguste Renoir, 1881

Pierre-Auguste Renoir

Sulla terrazza, 1881

Art Institute of Chicago

The Basket of Apples, Paul Cézanne, c. 1893

Paul Cézanne

il cesto di mele, c. 1893

Art Institute of Chicago

The Assumption of the Virgin, Domenico Theotokópoulos, called El Greco, 1577–79

Domenico Theotokópoulos, called El Greco

The Assumption of the Virgin, 1577–79

Art Institute of Chicago

The Beach at Sainte-Adresse, Claude Monet, 1867

Claude Monet

The Beach at Sainte-Adresse, 1867

Art Institute of Chicago