German Expressionist artist August Robert Ludwig Macke lived from January 3, 1887, to September 26, 1914. He was a central figure in Der Blaue Reiter, a group of German Expressionists (The Blue Rider). He was alive during a period when German art was highly active; he experienced both the emergence of the subsequent avant-garde trends that were developing throughout the rest of Europe and the growth of the leading German Expressionist movements. The avant-garde components that most fascinated Macke as an artist of his day were seamlessly integrated into his paintings. He was a young German painter who lost his life in the First World War, along with Otto Soltau and his buddy Franz Marc.
On January 3, 1887, in Meschede, Westphalia, August Robert Ludwig Macke was born in Germany. He was the single child of August Friedrich Hermann Macke (1845–1904), a builder and passionate artist, and Maria Florentine, née Adolph (1848–1922), a farmer from the Sauerland region of Westphalia. August's parents moved to Cologne immediately after his birth, where Macke studied the Kreuzgymnasium (1897–19000) and made friends with Hans Thuar, who would later have been an artist. When Macke was thirteen years old, he decided to relocate to Bonn. He attended the Realgymnasium and made friends with Walter Gerhardt and Elisabeth Gerhardt, who he eventually married.
The boy's earliest artistic impressions were his father's sketches, the Japanese prints Thuar's father had gathered, and the works of Arnold Böcklin that he had seen when visiting Basel in 1900. Macke enrolled at the Kunstakademie Düsseldorf in 1904, the same year his father passed away, studying under Adolf Maennchen (1904–1906). He also explored the Netherlands, Belgium, and Britain (1905), took evening classes under Fritz Helmut Ehmke and worked as a stage and lead animator at the Schauspielhaus Düsseldorf during this time (1906).
Macke spent most of his succeeding artistic life in Bonn, except for short stints to Lake Thun in Switzerland, Paris, Italy, the Netherlands, and Tunisia. Macke initially visited Paris in 1907 and viewed Monet's art there. He then moved to Berlin and spent a few months working in Lovis Corinth's office. His aesthetic development started with French Impressionist and Post-Impressionism and later experienced a Fauve phase. He wed Elisabeth Gerhardt in 1909. Through his acquaintance with Franz Marc, Macke was connected to Kandinsky in 1910, and the two men briefly shared Der Blaue Reiter's non-objective aesthetic and mystical and symbolic interests.
Meeting Robert Delaunay in Paris in 1912 would be something of an awakening for Macke. The multicolored Cubism of Delaunay, which Precedents had referred to as Orphism, began to influence Macke's painting at that time. His Shops Walls can be seen as a unique fusion of Italian Futurism's continuity of pictures with Delaunay's Windows.
When Macke went to visit Tunisia in April 1914 along with Paul Klee and Louis Moilliet, the exotic environment, there started playing a major role in the creation of his sensation style, which he used to produce a variety of pieces that are now regarded as works of art, which include his well-known painting Türkisches Café. The work of August Macke can be characterized as both Fauvism and Expressionism (in its original German flowering between 1905 and 1925). Instead of adequately representing objective reality, the paintings tend to reflect emotions and moods, often bending color and form.
Macke's career was terminated by his early death on September 26, 1914, in the front in Champagne, France, during the second month of the First World War. Farewell, his final artwork, portrays the depressing environment that followed the start of the war.
Der Blaue Reiter German artist's organization
The German group of artists known as Der Blaue Reiter, or "The Blue Rider, " strongly affected the abstract art approach." Der Blaue Reiter was a loosely knit association of artists that staged group displays between 1911 and 1914. It was neither a movement nor a school with a clear purpose.
Wassily Kandinsky, Gabriele Münter, and Franz Marc arranged a presentation titled "First Exhibit by the Editors of the Blue Rider" that was displayed from December 1911 to January 1912 in the Moderne Galerie Tannhäuser in Munich after departing the Neue Künstlervereinigung-München. Combined with Kandinsky and Marc, the display contained 43 pieces by 14 other artists, including Albert Bloch, Henri Rousseau, David and Vladimir Burlyuk, and August Macke. These artists' work was varied but typically showed a passion for unconstrained exploration and spiritual interpretation.
Other artists were lured to the group's linguistic freedom and quickly agreed to participate in a second group exhibition primarily oriented on graphic art despite the previous exhibition's mixed critical and audience reception. This second exhibition, which occurred in February 1912, had 315 pieces created by more than 30 foreign artists, including Paul Klee, André Derain, Jean Arp, Georges Braque, Maurice de Vlaminck, Mikhail Larionov, Natalya Goncharova, and Pablo Picasso. By this point, it was evident that the artists of Der Blaue Reiter, like those from the older German group Die Brücke, were restrictions and limitations inclined, but, in contrast, to Die Brücke, their art movement took the form of lyrical abstraction. By this point, it is evident that the artists of Der Blaue Reiter, like those of the older German group Die Brücke, were restrictions and limitations inclined, but, in contrast to Die Brücke, their art movement took the form of lyrical idealism. These artists sought to include highly esoteric themes to give form to magical sentiments. The Jugendstil movement, Cubism, Futurism, and "naive" folk art all impacted the artworks of Der Blaue Reiter.
From 1912 to 1914, the two Blaue Reiter exhibitions toured the land of Europe. During this moment, the almanac was also frequently read, which helped the group's views expand. In September 1913, the group's "First German Salon d'Automne" exhibition showcased their work was held at the renowned Galerie Der Sturm in Berlin. At that time, the Russian painter Alexey von Jawlensky, who was not technically a member of Der Blaue Reiter, accepted its objectives, and the German-American artist Lyonel Differences between the actual joined the organization. Der Blaue Reiter was divided up at the
beginning of World War I and the deaths of Marc and Macke in battle. The general public never accepted the revolutionary visual concepts of the movement. Still, the writings and ideas of the Der Blaue Reiter artists helped set the stage for a period of avant-garde innovation, particularly abstraction.
The successor group, Die Blaue Vier (also known as "The Blue Four"), was founded in 1924 by Feininger, Kandinsky, Klee, and Jawlensky (all of whom were lecturing at the Weimar Bauhaus at the time). So instead of sharing the same personal style, those persons were drawn together by a desire to display as a group. They cooperated on displays from 1925 through 1934 but did not have the same impact as Der Blaue Reiter.
Artworks by August Macke
The artist's wife in blue hat, 1909
Staudacher's house at the Tegernsee, 1910
Tegernsee landscape, 1910
Landschaft am Tegernsee mit lesendem Mann, 1910
St. Mary's with houses and chimney (Bonn), 1911, Kunstmuseum Bonn
Vegetable fields, 1911
Lady in a Green Jacket, 1913
Two girls, 1913