Mackes Bilder bewegen sich an der G

Mackes Bilder bewegen sich an der Grenze des Gegenständlichen: Sie sind noch schildernd und "erzählend", zugleich aber von der Auseinandersetzung mit dem auf "reine Malerei" zielenden Orphismus eines Robert Delaunay geprägt, der in seinem wie auch in Franz Marcs Werk eine große Rolle spielt. "Leute am blauen See" steht an dieser Schnittstelle: Das Bild lässt das Motiv erkennen, ist jedoch vor allem vom geschickten Zusammenspiel sorgsam komponierter Strukturen und Farbflächen bestimmt.
Original: 1913, Öl auf Leinwand, Kunsthalle Karlsruhe.

Results (English) 1:

Mackes images move on the border of the subject: they are still schildernd and "telling", yet imbued with the confrontation with the aimed at "pure painting" Orphism of Robert Delaunay, which plays a major role in his, as well as in Franz Marc's work. "People at the Blue Lake" stands at this intersection: the image shows the subject, is determined mainly by the skilful interplay of carefully composed structures and surfaces.Original: 1913, oil on canvas, Kunsthalle Karlsruhe.

Results (English) 2:

Macke's pictures move on the border of the objective: You are still portraying and "telling", but at the same time marked by the confrontation with the "pure painting" targeting Orphism of Robert Delaunay, who in his as well as Franz Marc's work an important role plays. "People at the blue lake" is at this interface: The picture can recognize the motif, however, is especially carefully composed by deft interplay structures and areas of color determined.
Original: 1913, oil on canvas, Kunsthalle Karlsruhe.

Results (English) 3:

Mackes moving pictures on the border of the present: they are still schildernd and "by talking about them", but at the same time for the confrontation with the "pure painting" targeting a Robert Delaunay Orphismus marked, as well as in his work in Franz Marc's plays a major role. "People at the Blue Lake" is available on this interface: The image can be the motive,