@article{oai:kansai-u.repo.nii.ac.jp:02001138,
 author = {岡本, 吉光 and Okamoto, Yoshimitsu},
 journal = {関西大学芸術学美術史研究学会eジャーナル},
 month = {Mar},
 note = {Franz Marc worked on animal painting for 16 years until his death in World War I. In both the West and our country, Marc is recognized as an animal painter. Marc believed that a new lineage of painting, completely different from the naturalist tradition leading to Impressionism in 19th-century France, began with Delacroix and then Cézanne and has been taken over by contemporary artists. Previous research has clarified that Marc conceptualized the goal of his art as "Animalization of art" and placed animal painting at the center of his artistic expression with the aim of creating a new art that would inherit the lineage of these artists, but it is not always clear what kind of concept "Animalization of art" refers to and what its components are. Furthermore, it is difficult to say that the background and reasons for Marc's decision to make "Animalization of art" the guiding principle of his art have been thoroughly studied. Since understanding Marc's artistic thought and worldview is considered to deepen our understanding of Marc's works of art, this paper examines and aims to clarify Marc's writings and letters. The main issue is the natural philosophy of the early Romantic thinkers Novalis and the Romantic painters Friedrich and Runge, in the first half of the 19th century. and since it is thought that Marc came to have come to make "the Animalization of art" the guiding principle of his art, I would like to explore the background and reasons and clarify Marc's aesthetic thought and the aesthetic idea of "Animalization of art.″},
 pages = {1--27},
 title = {フランツ・マルクの美学思想と「芸術の動物化」の美的理念},
 volume = {4},
 year = {2024}
}