15 Facts About Franz Marc's Yellow Cow

Wikimedia Commons // Public Domain
Wikimedia Commons // Public Domain

To gaze upon German Expressionist Franz Marc's Yellow Cow is to take in a surreal and spirited painting, alive with color. But within its bold brush strokes and envelope-pushing aesthetic lies the unexpected story of a complicated love between two artists, and the path that led them together.

1. YELLOW COW IS WILDLY DIFFERENT FROM FRANZ MARC'S EARLY WORKS.

Philosophy student-turned-painter Franz Marc attended the Munich Academy of Art during the turn of the 20th century. There, he studied natural realism, striving to capture his subjects in portraits true to dimension, gesture, and color. In 1902, he created Portrait of the Artist's Mother, which immortalized homemaker and devout Calvinist Sophie Marc. Sitting in profile, she leans over a book, reading by the light of an unseen lantern. Though Marc would become known for his vibrant color choices, here he favored darker shades that gave the painting a flat appearance, and a somber mood.

2. YELLOW COW'S CREATION WAS INSPIRED BY GERMAN NUDISTS.

In the early 20th century, Germany was in the midst of a back-to-nature movement, which saw several new artist collectives and nudist colonies pop up around the country. This celebration of the glory of the land and its natural inhabitants spoke to Marc, who later explained, "People with their lack of piety, especially men, never touched my true feelings. But animals with their virginal sense of life awakened all that was good in me."

3. HE VIEWED ANIMALS AS GOD-LIKE CREATURES.

Like the naturalists, Marc came to value the rural wonders of the country. He abandoned the bustle and urban intellectualism of Munich, and sought the spirituality and peace he believed could be found in living simply, as animals do. He began to think of them as having a "god-like presence and power." In a 1908 letter, Marc attempted to detail how this belief was informing his work, writing, "I am trying to intensify my ability to sense the organic rhythm that beats in all things, to develop a pantheistic sympathy for the trembling flow of blood in nature, in trees, in animals, in air—I am trying to make a picture of it … with colors which make a mockery of the old kind of studio picture."

4. ANIMALS BECAME A SIGNATURE MOTIF FOR MARC.

This is an image of Dog Lying in the Snow by Franz Marc
Wikimedia Commons // Public Domain

By 1907, Marc was focusing his work on capturing the spiritualism found in animals. Other notable works in the vein include The Fox, Dog Lying In The Snow, The Little Blue Horses, The Red Bull, Little Monkey, Monkey Frieze, Wild Boars in the Water, and The Tiger.

5. YELLOW COW IS A VERY LARGE PAINTING.

Measuring 55 3/8 by 74 1/2 inches, it's nearly 5 by 6 feet wide.

6. MARC DEVELOPED HIS OWN COLOR SYMBOLISM.

This is an image of Self-portrait by August Macke.
Wikimedia Commons // Public Domain

Colors would recur in Marc's work and speak to different emotions or themes. In 1910, he explained his use of color in a letter to friend and colleague, artist August Macke. Marc wrote, "Blue is the male principle, astringent and spiritual. Yellow is the female principle, gentle, gay, and spiritual. Red is matter, brutal and heavy and always the color to be opposed and overcome by the other two."

7. YELLOW COW MIGHT BE AN UNCONVENTIONAL WEDDING PORTRAIT.

Exploring the painter's works and statements on his use of color, art historian Mark Rosenthal declared that the frolicking cow is actually a veiled depiction of Marc's second wife Maria Franck, while the distant blue mountains are meant to represent the painter himself. Painted the same year the couple were married, it times out to potentially be representative of their nuptials. The blending of the blue into the cow's spots suggests the joining of masculine and feminine.

8. FRANCK WAS A RECURRING MUSE FOR HER LOVER.

In 1906, before they were married, Marc had sketched a more traditional portrait of his wife-to-be, titled simply Mädchenkopf, which translates—rather unsentimentally—to "girl's head." That same year, he captured Franck in the abstract painting Two Women on the Hillside. Later, he created Maria Franck in a White Cap.

9. MARC AND FRANCK HAD A COMPLICATED ROMANCE.

An artist in her own right, Franck met Marc at a costume ball in Schwabing, Germany. The pair hit it off, and also befriended illustrator Marie Schnür, resulting in a shared Bavarian summer of creativity (and rumored three-way trysts). Schnür was the other woman who modeled for Two Women on the Hillside, as well as the other woman captured in a NSFW photo from their formative season in the sun. Marc ended up marrying both women, starting with Schnür.

Theirs was a marriage of convenience, meant to aid her in securing custody of her bastard baby boy, whom she had with another man. Details on this marriage are scant beyond that it was brief, lasting from 1907 to 1908. However, because Schnür accused Marc of infidelity, he was barred from remarrying until a special dispensation was granted, which took years. So while Marc and Franck had tried to wed in 1911, their official "I do" didn't come until June 3, 1913, in Munich.

10. TWO WOMEN ON THE HILLSIDE WAS A SIGN OF MARC'S TRANSITION TO HIS SIGNATURE STYLE.

This is an image of Two Women on the Hillside by Franz Marc.
Wikimedia Commons // Public Domain

Looking back on 1906's Two Women on the Hillside, it seems to foretell Yellow Cow. Depicting the two women who, in their own ways, would inspire Yellow Cow, Marc moved away from the German realist art he studied in college. Instead, looser brush strokes speak to Post-Impressionist interests, and the willful abstractness of its subjects predicts the evolving German expressionism movement of which he would become a part. It also shows repetition in the lines—of the woman's hip to the hill beyond—that would be revisited in Yellow Cow, whose haunches mirror the rise and fall of the mountains behind her.

11. YELLOW COW WAS A PART OF THE DER BLAUE REITER ART MOVEMENT.

Named for a Wassily Kandinsky painting, this movement boasted members like Kandinsky, Marc, Macke, Alexej von Jawlensky, Marianne von Werefkin, and Gabriele Münter. Der Blaue Reiter (translating to The Blue Rider) had no hard manifesto, but its members shared a common urge to express spiritualism through their work, and often specifically through color. Turned away from exhibitions, they toured with their own, and published an almanac that celebrated contemporary, primitive, and folk art, along with children's paintings.

12. DER BLAUE REITER WAS DEVASTATED BY WORLD WAR I.

The Blue Rider movement only lasted from 1911 to 1914, in large part because the tensions growing between nations chased Russian artists back to their homeland, while Germans, including Marc and Macke, were conscripted into military service. As these artistic colleagues scattered, their movement faded. But it proved fundamental to the evolving Expressionism, and its works would remain.

13. MARC DID NOT LIVE TO SEE HIS LEGACY SECURED.

Marc's animal paintings would go on to awe viewers for decades to come. They'd become coveted by collectors and museums. And a plaque would be placed on the Munich home where he was born, remembering him as a founder of Der Blaue Reiter. But Marc was killed on March 4, 1916, during the Battle of Verdun. He was 36 years old.

14. FRANCK SAW TO IT THAT HIS WORKS WOULD BE PRESERVED.

This is an image of art historian, Klaus Lankheit.
Wikimedia Commons // Public Domain

Marc's widow gave records of his life and writing to German art historian Klaus Lankheit. She called on German writer/gallery owner Herwarth Walden to exhibit her late husband's works in a posthumous show in October of 1916. While continuing to create and exhibit her own work, she collected Marc's letters from the war's front, and in 1920 had them published in a two-volume book called Briefe, Aufzeichnungen und Aphorismen (translating to Letters, Records, and Aphorisms). According to the Solomon R. Guggenheim Museum, where a copy of each is preserved, "The first volume contains letters written from September 1914 to March 1916 as well as records alongside color plates, and the second presents the artist’s sketchbook." Franck preserved Marc's legacy in whatever way she could, and in doing so, gave him to the world.

15. YELLOW COW IS REMEMBERED AS A JOYFUL MASTERPIECE.

While it might not sound complimentary to compare your wife to a cow, the consensus on Yellow Cow is that it signifies the happiness and bliss Marc's bond with Franck brought to his life. The bovine's bright colors are jubilant and yet the colors of her body jibe with those in her environment. She belongs here. Her pose is enthusiastic and bold—almost dance-like. If you look closely, you can even see a small smile play across her lips. It's an unusual love letter, but one that's outlived its lovers, and now hangs on the walls of the Guggenheim in New York City, to inspire many more.

14 Things You Might Not Have Known About James K. Polk

Matthew Brady/Getty Images
Matthew Brady/Getty Images

James K. Polk may have served just one term, but he was one of history’s most consequential U.S. presidents. Polish up on Young Hickory, America's 11th Commander in Chief.

1. James K. Polk had surgery to remove urinary bladder stones when he was 16.

Born on November 2, 1795, James Knox Polk was the oldest of 10 children born to Samuel Polk, a farmer and surveyor, and his wife, Jane. When James was 10, the family moved to Tennessee and settled on a farm in Maury County. As a child, James was too ill to attend formal school; just before he turned 17, he had urinary bladder stones surgically removed by Ephraim McDowell, a prominent Kentucky surgeon. Anesthesia wasn’t available at that time, so the future president reportedly dulled the pain with brandy. The surgery allowed the formerly ill Polk to attend formal schooling for the first time. He entered the University of North Carolina as a sophomore after just 2.5 years of formal schooling. According to Britannica, "as a graduating senior in 1818 he was the Latin salutatorian of his class—a preeminent scholar in both the classics and mathematics." After graduation, he returned to Tennessee to study law and eventually opened up his own practice.

2. James K. Polk won a seat on the Tennessee Legislature at 27, and the U.S. House of Representatives at 29.

During his time in the state legislature, he met—and befriended—future president Andrew Jackson. He also began courting his future wife, Sarah Childress. The daughter of a prominent planter, she had been educated at the prestigious Moravian Female Academy in Salem, North Carolina, and was an eager and active participant in his political campaigns. Polk and Sarah married in 1824. In 1825, Polk was elected to the U.S. House of Representatives; he was speaker of the House from 1835 until he left in 1839 to become governor of Tennessee.

3. James K. Polk's nomination for president surprised everyone—including himself.

Months before the democratic national convention of 1844, Polk was at a low point. He had just lost his bid to be re-elected governor of Tennessee (he had been voted out of office in 1841 and tried—and failed—to be elected again in 1843). But when the delegates at the convention couldn’t agree on a nominee—the party was deadlocked between Martin Van Buren and Lewis Cass—they eventually decided to compromise by picking a “dark horse” candidate: Polk.

4. Everyone thought James K. Polk would lose his bid for the presidency.

Despite being a seven-time congressman, a former Speaker of the House, and an ex-governor, Polk was a relative nobody. His opponent Henry Clay lamented that Democrats had failed to choose someone “more worthy of a contest.” Despite the doubts, Polk won the popular vote by nearly 40,000 and the Electoral College 170-105.

5. During James K. Polk's White House "office hours," any American could stop by.

During Polk’s day, anybody was permitted to visit the White House for “office hours.” For two days every week, concerned citizens and lobbyists could drop by to vouch for a cause or ask for political favors. “Job seekers were the worst, in Polk’s view, and he found their incessant interruptions far more annoying than his Whig opponents in Congress,” writes Walter R. Borneman in his book Polk: The Man Who Transformed the Presidency and America.

6. James K. Polk was remarkably boring.

Polk had as much charisma as a puddle of mud. He was straight-laced, somber, and humorless. As Speaker, an editor in Washington called him the "most unpretending man, for his talents, this, or perhaps any country, has ever seen." Some attributed Polk’s boringness to his refusal to drink socially. The politician Sam Houston supposedly called him “a victim of the use of water as a beverage.” (Sarah banned hard liquor—and dancing—from the White House.)

7. James K. Polk worked 12 hour days and didn't take much time off from the presidency.

Polk regularly spent 12 hours a day at the office. He rarely left Washington, took advice, or delegated. When he wanted to lobby for policy, he’d visit Congress and do it himself. Over the course of his single term, Polk took a total of just 27 days off. “No President who performs his duty faithfully and conscientiously can have any leisure,” Polk wrote.

8. James K. Polk acquired America's first patch of Pacific coastline.

In the early 19th century, the Pacific Northwest was jointly occupied by British and American settlers. But as the century progressed, Americans began to outnumber the British, and they increasingly felt like the rightful owners of the “Oregon Country.” Thankfully, neither country was interested in battling over the land. In 1846, Polk and the British drew a border at the 49th parallel (with some adjustment for Vancouver Island)—what is now Washington State’s boundary with Canada. With that, the United States obtained its first uncontested patch of Pacific coastline.

9. James K. Polk waged a controversial—and consequential—war with Mexico.

In the 1840s, Mexico’s border encompassed California, the American southwest, and even parts of Colorado and Wyoming. Polk wanted this land. In 1845, he offered to buy some disputed territory near the Texas-Mexico border, as well as land in California; when Mexico refused, Polk sent troops into the disputed territory. Mexico retaliated. Polk then requested Congress to declare war. His critics (including a young Abraham Lincoln) complained that Polk had deliberately provoked Mexico. Whatever Polk’s motivations, the United States lost 13,000 men and approximately $100 million in the ensuing war—but succeeded in taking one-third of Mexico’s land.

10. James K. Polk is the reason the United States stretches from the Atlantic Ocean to the Pacific Ocean.

In the course of just one term, Polk oversaw one of the greatest territorial expansions of any president—an increase of 1.2 million square miles. His administration extended the United States boundary to the Pacific Ocean and laid the groundwork for states such as California, Utah, Nevada, Arizona, New Mexico, Colorado, Washington, Idaho, Oregon, and Montana.

11. James K. Polk's ambivalence toward the issue of slavery may have sparked the Civil War.

When Polk’s administration began pushing westward, debate raged over how these new territories could alter the power balance between free and slave states. Polk, who considered slavery a side issue, refused to give the rancor much time or attention. (No doubt because of his own relationship with slavery. He owned more than 20 enslaved people and brought them to the White House.) Polk’s ambivalence helped sow so much discord that historians now consider his rapid expansion westward as the first steps toward the Civil War.

12. James K. Polk signed bills that reshaped Washington, D.C.

Polk accomplished a lot in just four years. During his tenure, he signed the Smithsonian Institution into law. He was instrumental to the construction of the Washington Monument and helped establish the U.S. Naval Academy in Annapolis, Maryland. He also re-established an independent U.S. Treasury, which was partly intended to reduce the role of speculation in the economy.

13. James K. Polk's administration introduced Americans to the postage stamp.

One of Polk’s unofficial campaign managers was a Nosferatu-lookalike named Cave Johnson, who Polk rewarded with a job as Postmaster General. It was a tough gig. The post office’s budget was swimming in red ink. (At the time, mail recipients paid postage: If a mail carrier failed to find a recipient, no money was made. This happened a lot.) Johnson fixed the financial problem by introducing the prepaid postage stamp, which flipped the responsibility of paying to senders. According to historian C. L. Grant, in 1845, Johnson estimated that the department would have a deficit of over a million dollars. By the time he left that was down to $30,000.

14. The location of James K. Polk's grave is causing a stir in Tennessee.

Polk died, likely of cholera, in 1849, just months after leaving office. Because he died of an infectious disease, the president was hastily buried in a city cemetery near the outskirts of Nashville. Months later, he was re-interred near his Nashville mansion, Polk Place. In 1893, his tomb was moved again to the state Capitol grounds. Today, Tennessee legislators are actively debating whether to move Polk’s bones a fourth time, this time to his old family home in Columbia, Tennessee.

10 Complicated Facts About Shaft

Richard Roundtree stars in Shaft (1971).
Richard Roundtree stars in Shaft (1971).
MGM

On July 2, 1971, moviegoers caught their first glimpse of John Shaft, the "black private dick that’s a sex machine to all the chicks." Today, Shaft is considered one of the grandfathers of the blaxploitation genre—and it’s got one of the most recognizable soundtracks of all time. While Samuel L. Jackson has taken on the role for a new generation here are some interesting facts about the original film's creation and release. If you picked up on why Shaft and his associates call everyone "mother," you’re smarter than at least one unfortunate reporter.

1. A white newspaper reporter created Shaft.

John Shaft made his debut in Shaft, a novel by Ernest Tidyman. Tidyman was a reporter for The Cleveland News, The New York Post, and The New York Times before he began writing the Shaft series, which included seven detective stories. Along with John D.F. Black, he adapted his first Shaft book into the screenplay for the first film. He would later go on to write the screenplays for The French Connection (1971) and High Plains Drifter (1973) as well as Shaft’s Big Score! (1972) and the Shaft TV series (1973-1974). His work earned him an NAACP Image Award.

2. The studio wanted to shoot Shaft in Los Angeles.

Shaft was filmed entirely in New York City, which is clearly illustrated by the shots of Times Square and Greenwich Village. But it nearly wasn’t. In his autobiography, Voices in the Mirror, director Gordon Parks recalled how he received word from MGM mere hours before he was set to commence filming that he was to return to Los Angeles and shoot the movie there. Apparently it was a budgetary issue, but Parks wasn’t having it. He flew back to the West Coast and essentially told the studio heads he would quit if he couldn’t shoot in Manhattan. "It has to have the smell of New York," Parks insisted. The director won out, and his nightmare of a Harlem in Hollywood was never realized.

3. Shaft's mustache was non-negotiable.

The Los Angeles fiasco was behind him, but Parks immediately faced another scare when he spied his star, Richard Roundtree, heading to the bathroom with a towel and razor. Producer Joel Freeman had asked him to get rid of his soon-to-be legendary mustache. Parks told Roundtree emphatically, “Shave it off and you’re out of a job.” And with that, the ‘stache stayed in the picture.

4. Gordon Parks put his magazine in the movie.

In the movie’s opening sequence, Shaft stops to talk to a blind newsstand vendor. The magazine Essence is prominently displayed—and that’s no accident; Parks helped found the publication and served as its editorial director for its first three years in print.

5. Bumpy Jonas was based on a real mobster.

Shaft spends most of the movie tracking down a kidnapped girl. She’s the daughter of Harlem crime kingpin Bumpy Jonas, and Bumpy was not a Hollywood invention. He was based on Ellsworth “Bumpy” Johnson, who ruled the Harlem crime scene from the 1930s through the 1960s. He had ties to the infamous murder of Dutch Schultz and mentored Frank Lucas, the notorious heroin dealer Denzel Washington played in American Gangster. Fictionalized versions of Johnson have also appeared in movies like The Cotton Club and Hoodlum.

6. Gordon Parks made a cameo.

Parks appears briefly in the montage of Shaft searching for Ben Buford. He’s the landlord with the pipe, who complains that he’s also looking for Buford, who owes him six months of rent.

7. Muhammad Ali's trainer had a bit role.

Drew Bundini Brown was a well-known member of Muhammad Ali’s entourage. He worked as an assistant trainer, and was famous for the “float like a butterfly, sting like a bee” bit he performed with Ali for the cameras. But when he wasn’t in Ali’s corner, Brown was busy racking up movie credits. His first was Shaft, where he played one of Bumpy Jonas's men.

8. "Skloot Insurance" was a nod to a crew member.

Shaft’s office is sandwiched in between Acme Imports Exports Inc. and Skloot Insurance. The latter is a reference to Steven P. Skloot, the movie’s unit production manager.

9. Parks had to explain what "shaft" and "mother" meant to a reporter.

When Parks flew to London to do publicity for the film, he ended up giving an impromptu vocabulary lesson. At a press screening, a confused British reporter asked the director what “shaft” really meant. Parks replied by smiling and sticking his middle finger up in the air, explaining that was “the most honest answer” he could give. But the reporter was persistent and followed up by asking why the characters called each other “mother.” Parks really didn’t know how to answer that one, but luckily, a woman in the audience swooped in. “You’ve heard of Smucker’s jam, young man,” she said. “Just snip out the first two letters and add an ‘f’ and you’ll get the message.”

10. Isaac Hayes was the first black composer to win an Oscar.

Isaac Hayes’s ubiquitous “Theme from Shaft” earned him a 1972 Academy Award for Best Original Song. This win was historic for many reasons: For one, Hayes was the first black composer to score an Oscar. But he was also only the third African American to win an Oscar, period. Prior to 1973, the only other black Academy Award winners were Hattie McDaniel (Best Supporting Actress for Gone with the Wind) and Sidney Poitier (Best Actor for Lilies of the Field).

This story has been updated for 2019.

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