Franz Marc was born in 1880 In Munich; he studied in Academy of Fine Arts In Munich at 1900 and spent many years in Paris, France. In his early years of the Twentieth Century became and influential figure in the bird of abstract art. In 1911 He founded the Der Blaue Reiter journal, which became the center of an artist circle, along side with Macke, Wassily Kandinsky. Marc showed many of works in the first Der Blaue Reiter Exhibition at the Thannhauser Galleries In Munich between 1911 and 1912 before the outbreak of the Great War in 1914, Marc Enlisted in the Germany Army and was killed in combat in 1916. His most mature work deals with animal theme, usually in natural settings. He saw animals as innocent beings in harmony with nature, and attempted to paint the world from the animal's perspective. One of his characteristics is bright primary color with a cubist approach to animal portraits. Marc gave his colors an emotional meaning or purpose to his work, Yellow represented feminine joy, and blue was represented as masculinity and spirituality and red stands for power and violence. One of his most famous paintings is the Fate of the animals, which now hangs in the Kunstmuseum Basel. Franz Marc's Fate of the Animals presents the viewers with a vision of apocalypse and Armageddon from the perspective of a group of forest animals trapped in a forest, subject to an unidentified force, threatening forms and sharp angles no longer correspond with what is natural, beautiful and innocent. At its most simplistic interpretation, the painting depicts the chaotic scene of a forest on fire. In the top left of the painting, large red triangular shapes seem to indicate some kind of massive blast from explosion. The left side of the painting shows a scene almost entirely engulfed in flames. Two green horses struggle against the flame seems like in the moment of escape and chaos, facing each other as saying goodbye, clearly appearing very stressed and frightened. In the left foreground, what appear to be two red boars stand within the flames, huddling next to each other tightly and seeming to accept their fate with some dignified resignation (the left-most boar appears to have an almost saddened expression). Both boars are looking away from the most dramatic scene in the painting: a blue deer with bright white side fur in the center of the painting looks to be dying, neck tilting slightly towards the back, its throat pierced by a spear-shaped bright yellow ray. Proceeding to the right, a quartet of animals, possibly foxes, wolves, or more deer, are taking shelter and viewing the destruction with interest. Their gazes seem fixed on the explosion in the top left of the painting. The backdrop of the painting is a deep night sky, and it appears that other fires are burning far in the background. The painting is primarily compo