For Marc, different hues evoked gender stereotypes: yellow, a “gentle, cheerful and sensual” color, symbolized femininity, while blue, representing the “spiritual and intellectual,” symbolized masculinity. Marc’s color theories and biography have been used by art historian Mark Rosenthal to interpret Yellow Cow. The frolicking yellow cow, as a symbol of the female principle, may be a veiled depiction of Maria Franck, whom Marc married in 1911. Extending this reading, Rosenthal sees the triangular blue mountains in the background as Marc’s abstract self-portrait, thereby making this painting into a private wedding picture. Not all of Marc’s paintings of animals are so sanguine, however. He often depicted innocent creatures in ominous scenes. Painted in 1913, The Unfortunate Land of Tyrol reflects the desolation caused by the Balkan Wars and their anticipation of pan-European battle; an Austro-Hungarian border sign included in the lower-left portion of the canvas indicates the vulnerability of this province. The cemetery and emaciated horses portend doom, but Marc’s faith in the ultimate goodness of nature and the regenerative potential of war prevails: the rainbow and bird with outstretched wings reflect a promise of redemption through struggle.