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.

13 Surprising Facts About George Orwell

Cassowary Colorizations, Flickr // CC BY 2.0
Cassowary Colorizations, Flickr // CC BY 2.0

Before he assumed the pen name George Orwell, Eric Arthur Blair had a relatively normal upbringing for an upper-middle-class English boy of his time. Looking back now, his life proved to be anything but ordinary. He's best known for penning the dystopian novel Nineteen Eighty-Four—regarded as one of the greatest classics of all time—but writing novels was only one small facet of his life and career. In remembrance of Orwell, who was born on June 25, 1903, here are 13 facts about his life that may surprise you.

1. George Orwell attended prep school as a child—and hated it.

Eric Blair spent five years at the St. Cyprian School for boys in Eastbourne, England, which later inspired his melodramatic essay Such, Such Were the Joys. In this account, he called the school’s proprietors “terrible, all-powerful monsters” and labeled the institution itself "an expensive and snobbish school which was in process of becoming more snobbish, and, I imagine, more expensive." While Blair's misery is now considered to be somewhat exaggerated, the essay was deemed too libelous to print at the time. It was finally published in 1968 after his death.

2. He was a prankster.

Blair was expelled from his "crammer" school (an institution designed to help students "cram" for specific exams) for sending a birthday message attached to a dead rat to the town surveyor, according to Sir Bernard Crick's George Orwell: A Life, the first complete biography of Orwell. And while studying at Eton College, Orwell made up a song about John Crace, his school’s housemaster, in which he made fun of Crace’s appearance and penchant for Italian art:

Then up waddled Wog and he squeaked in Greek:
‘I’ve grown another hair on my cheek.’
Crace replied in Latin with his toadlike smile:
‘And I hope you’ve grown a lovely new pile.
With a loud deep fart from the bottom of my heart!
How d’you like Venetian art?'

Later, in a newspaper column, he recalled his boyhood hobby of replying to advertisements and stringing the salesmen along as a joke. “You can have a lot of fun by answering the advertisements and then, when you have drawn them out and made them waste a lot of stamps in sending successive wads of testimonials, suddenly leaving them cold,” he wrote.

3. He worked a number of odd jobs for most of his career.

A photo of Orwell with a BBC microphone
Wikimedia Commons // Public Domain

Everyone’s got to pay the bills, and Blair was no exception. He spent most of his career juggling part-time jobs while authoring books on the side. Over the years, he worked as a police officer for the Indian Imperial Police in Burma (present-day Myanmar), a high school teacher, a bookstore clerk, a propagandist for the BBC during World War II, a literary editor, and a war correspondent. He also had stints as a dishwasher in Paris and as a hop-picker (for breweries) in Kent, England, but those jobs were for research purposes while “living as a tramp” and writing his first book about his experiences, Down and Out in Paris and London. (He chose to publish the book under a pseudonym, George Orwell, and the name stuck.)

4. He once got himself arrested. On purpose.


The National Archives UK // Public Domain

In 1931, while investigating poverty for his aforementioned memoir, Orwell intentionally got himself arrested for being “drunk and incapable.” This was done “in order to get a taste of prison and to bring himself closer to the tramps and small-time villains with whom he mingled,” biographer Gordon Bowker told The Guardian. At the time, he had been using the pseudonym Edward Burton and posing as a poor fish porter. After drinking several pints and almost a whole bottle of whisky and ostensibly making a scene (it’s uncertain what exactly was said or done), Orwell was arrested. His crime didn’t warrant prison time like he had hoped, and he was released after spending 48 hours in custody. He wrote about the experience in an unpublished essay titled Clink.

5. He had knuckle tattoos.

While working as a police officer in Burma, Orwell got his knuckles tattooed. Adrian Fierz, who knew Orwell, told biographer Gordon Bowker that the tattoos were small blue spots, “the shape of small grapefruits,” and Orwell had one on each knuckle. Orwell noted that some Burmese tribes believed tattoos would protect them from bullets. He may have gotten inked for similarly superstitious reasons, Bowker suggested, but it's more likely that he wanted to set himself apart from the British establishment in Burma. "He was never a properly 'correct' member of the Imperial class—hobnobbing with Buddhist priests, Rangoon prostitutes, and British drop-outs," Bowker wrote.

6. He knew seven foreign languages, to varying degrees.

Orwell wrote in a 1944 newspaper column, “In my life I have learned seven foreign languages, including two dead ones, and out of those seven I retain only one, and that not brilliantly.” In his youth, he learned French from Aldous Huxley, who briefly taught at Orwell’s boarding school and later went on to write Brave New World. Orwell ultimately became fluent in French, and at different points in his life he studied Latin, Greek, Spanish, and Burmese, to name a few.

7. He voluntarily fought in the Spanish Civil War.

Like fellow writer Ernest Hemingway and others with leftist leanings, Orwell got tangled up in the Spanish Civil War. At the age of 33, Orwell arrived in Spain, shortly after fighting had broken out in 1936, hoping to write some newspaper articles. Instead, he ended up joining the Republican militia to “fight fascism” because “it seemed the only conceivable thing to do.” The following year, he was shot in the neck by a sniper, but survived. He described the moment of being shot as “a tremendous shock—no pain, only a violent shock, such as you get from an electric terminal; with it a sense of utter weakness, a feeling of being stricken and shriveled up to nothing.” He wrote about his war experiences in the book Homage to Catalonia.

8. His manuscript for Animal Farm was nearly destroyed by a bomb.


Thomas D, Flickr // CC BY-ND 2.0

In 1944, Orwell’s home at 10 Mortimer Crescent in London was struck by a “doodlebug” (a German V-1 flying bomb). Orwell, his wife Eileen, and their son Richard Horatio were away at the time, but their home was demolished. During his lunch break at the British newspaper Tribune, Orwell would return to the foundation where his home once stood and sift through the rubble in search of his books and papers—most importantly, the manuscript for Animal Farm. “He spent hours and hours rifling through rubbish. Fortunately, he found it,” Richard recalled in a 2012 interview with Ham & High. Orwell then piled everything into a wheelbarrow and carted it back to his office.

9. He had a goat named Muriel.

He and his wife Eileen tended to several farm animals at their home in Wallington, England, including Muriel the goat. A goat by the same name in Orwell’s book Animal Farm is described as being one of the few intelligent and morally sound animals on the farm, making her one of the more likable characters in this dark work of dystopian fiction.

10. He coined the term "Cold War."

The first recorded usage of the phrase “cold war” in reference to relations between the U.S. and Soviet Union can be traced back to Orwell’s 1945 essay You and the Atom Bomb, which was written two months after atomic bombs were dropped on Hiroshima and Nagasaki. In the essay, he described “a state which was at once unconquerable and in a permanent state of ‘cold war’ with its neighbors.” He continued:

“Had the atomic bomb turned out to be something as cheap and easily manufactured as a bicycle or an alarm clock, it might well have plunged us back into barbarism, but it might, on the other hand, have meant the end of national sovereignty and of the highly centralized police state. If, as seems to be the case, it is a rare and costly object as difficult to produce as a battleship, it is likelier to put an end to large-scale wars at the cost of prolonging indefinitely a ‘peace that is no peace.’”

11. He ratted out Charlie Chaplin and other artists for allegedly being communists.

Orwell self-identified as a democratic socialist, but his sympathy didn’t extend to communists. In 1949, he compiled a list of artists he suspected of having communist leanings and passed it along to his friend, Celia Paget, who worked for the UK’s Information Research Department. After the war ended, the branch was tasked with distributing anti-communist propaganda throughout Europe. Orwell's list included Charlie Chaplin and a few dozen other actors, writers, academics, and politicians. Other notable names that were written down in his notebook but weren’t turned over to the IRD included Katharine Hepburn, John Steinbeck, George Bernard Shaw, Orson Welles, and Cecil Day-Lewis (the father of Daniel Day-Lewis).

Orwell’s intention was to blacklist those individuals, whom he considered untrustworthy, from IRD employment. While journalist Alexander Cockburn labeled Orwell a “snitch,” biographer Bernard Crick wrote, “He wasn’t denouncing these people as subversives. He was denouncing them as unsuitable for counter-intelligence operation.”

12. He really hated American fashion magazines.

A woman reads a fashion magazine in the '40s
Keystone View/FPG/Getty Images

For a period of about a year and a half, Orwell penned a regular column called As I Please for the newspaper Tribune, in which he shared his thoughts on everything from war to objective truth to literary criticism. One such column from 1946 featured a brutal takedown of American fashion magazines. Of the models appearing on their pages, he wrote, “A thin-boned, ancient-Egyptian type of face seems to predominate: narrow hips are general, and slender, non-prehensile hands like those of a lizard are quite universal.”

As for the inane copy that accompanied advertisements, he complained:

"Words like suave-mannered, custom-finished, contour-conforming, mitt-back, inner-sole, backdip, midriff, swoosh, swash, curvaceous, slenderize, and pet-smooth are flung about with evident full expectation that the reader will understand them at a glance. Here are a few sample sentences taken at random: 'A new Shimmer Sheen color that sets your hands and his head in a whirl.' 'Bared and beautifully bosomy.' 'Feathery-light Milliken Fleece to keep her kitten-snug!' 'Others see you through a veil of sheer beauty, and they wonder why!'"

In the rest of the column, he went on to discuss traffic fatalities.

13. He nearly drowned while writing Nineteen Eighty-Four.

One day in 1947 while taking a break from writing Nineteen Eighty-Four, Orwell took his son, niece, and nephew on a boating trip across the Gulf of Corryvreckan in western Scotland, which happens to be the site of the world's third-largest whirlpool. Unsurprisingly, their dinghy capsized when it was sucked into the whirlpool, hurling them all overboard. Fortunately, all four survived, and the book that later came to be called Nineteen Eighty-Four (originally named The Last Man in Europe) was finally published in 1949, just seven months before Orwell's death from tuberculosis.

This story has been updated for 2019.

20 Freaky Facts About the Giant Squid

Canadian Illustrated News, Wikimedia Commons // Public Domain
Canadian Illustrated News, Wikimedia Commons // Public Domain

Last week, scientists aboard a NOAA Ocean Exploration and Research ship in the Gulf of Mexico captured video of an elusive giant squid—the first recorded sighting in U.S. waters. In the 28-second clip, the cephalopod emerges from the blackness of the deep sea and attacks an electronic jellyfish. After wrapping its tentacles around the luminescent bait, the squid loses interest and disappears in the murk. Since ancient times, philosophers and naturalists have puzzled over this rarely seen enigma. There’s plenty we still don’t know about giant squid, but we’ve learned a lot over the past 20 years.

1. Giant squid eyes are the size of Frisbees.

Woman next to a preserved giant squid eye
Smithsonian Institution, Wikimedia Commons // Public Domain

A staggering 10.5 inches across, a squid’s eyeballs lack the jelly-like substance that gives ours their shape. Instead, they’re filled with water, which leaks out once the invertebrate dies. "The eyes collapse. It's like a collapsed plastic bag,” biologist Dan-Eric Nilsson told NPR in 2012.

2. Female giant squid are bigger than males.

On average, female giant squid are around twice the size of males from the tip of their beaks to the ends of their two longest tentacles.

3. Giant squid suckers can leave ugly battle scars.

The giant squid's main enemy is the sperm whale. While under attack, the squid often retaliate by inflicting large, circular wounds, courtesy of the serrated rings around each sucker.

4.The giant squid’s maximum length is about 43 feet.

At least, that’s what the available evidence tells us. Reports of 60- and 70-footers have never been verified scientifically.

5. Instead of a proper tongue, they use a radula.

This organ rests inside their beaks and is covered with seven rows of denticles—sharp, toothy, backwards-pointing protrusions.

6. There may be just one known species.

A genetic analysis in 2013 suggested that Architeuthis duxis the only species of giant squid, as revealed by a comparison of 43 specimens from around the world. The giant squid gene pool seemed abnormally shallow—all 43 subjects were pretty much indistinguishable in this regard. “It’s completely bizarre,” geneticist Thomas Gilbert said. “How can something be global but have so little variation?” Other researchers, however, argue that there may be as many as eight Architeuthis species out there.

7. Giant squid tentacles can regenerate.

One giant squid corpse found in Canada in 1968 had a partially regenerated tentacle. According to a study of the specimen in the Canadian Journal of Zoology, "the regenerated club differed in length and width, and in the size and pattern of suckers, when compared with the normal tentacular arm." Many cephalopods besides squid are capable of this feat, including octopuses.

8. An estimated 4.3 to 131 million get eaten by sperm whales each year.

The squid regularly show up inside sperm whale stomachs. Approximately 360,000 of these mammals swim the oceans. So, if every sperm whale on Earth devoured an average of one giant squid per month, that means 4.3 million would be offed annually.

But some experts think this figure is way too low. Every single day, male whales put away 300 to 400 squid of various species, while females consume an outrageous 700 to 800 squid. Should Architeuthis represent even 1 percent of their diet, then the whales eat 3.6 million daily. That’s 131 million giant squid killed annually.

9. Giant squid may have helped give rise to sea serpent legends.

In one of Moby-Dick’s more memorable chapters, an Architeuthis slithers towards Captain Ahab’s whaleboat. Apparently, Herman Melville wasn’t a fan—Ishmael describes the squid as a “vast, pulpy mass” complete with “innumerable long arms radiating from its center, curling and twisting like a nest of anacondas.” But Melville wasn't alone. Many believe that this predator’s writhing, snake-like limbs have long inspired sea serpent yarns.

10. 20,000 Leagues Under the Sea grossly overestimates the giant squid’s usual weight.

Jules Verne’s 1869 masterpiece remains impressive today: his novel predicted the invention of both scuba tanks and taser guns. But there are still a few gaffes to be found, particularly during the book’s most iconic scene. When hordes of giant squid attack, the narrator, a French professor named Pierre Arronax, estimates that each one must weigh “between four and five thousand pounds.” But as far as modern scientists can tell, the heaviest animals weigh around a ton—although most are less than 1000 pounds.

11. Like all squids, giant squids have three hearts.

A median heart pumps oxygenated blood throughout the body, which it receives from two smaller ones that pump blood through the gills.

12. Architeuthis penises are about a yard long.

Nobody has ever documented a pair of giant squid getting busy. But biologists suspect that males use their sex organs like syringes, injecting sperm into a female’s skin, where she stores the cells until her eggs need fertilizing. When that happens, the mom-to-be pulls them out of storage (though we’re not sure how).

13. The first giant squid photo ever shot was taken inside of a bathroom.

First photo of a giant squid
Wikimedia Commons // Public Domain

In 1873, Newfoundland minister Moses Harvey acquired a dead Architeuthis which he laid out over his shower curtain rod and preserved for posterity. He’d purchased this specimen for just $10 from a few local fishermen who’d ensnared it with their nets while out in Logy Bay.

14. Giant squid might be cannibals.

Bits and pieces of one Architeuthis showed up in a live giant squid's stomach. But this doesn’t necessarily prove that giant squid dine on one another—some scientists speculate that the squid may have accidentally swallowed a few parts of itself somehow.

15. The Smithsonian has two giant squid on display.

You can see them in the National Museum of Natural History’s Sant Ocean Hall. The pair represents both sexes—here’s a quick look at their 25-foot female (it was probably 36 feet while alive):

16. Their brains are donut-shaped.

But that’s not the weird part. What’s truly bizarre (at least from our mammal-centric perspective) is the fact that its esophagus passes through the hole in the middle of its brain. Giant squids have to be really careful while swallowing, because if a given meal isn’t broken down into small pieces first, it can rub against the brain and cause damage.

17. Before 2004, nobody had ever snapped any pictures of a live one …

History was made by residents of the Ogasawara Islands (located 600 miles south of Japan) on September 30, 2004. Using a line baited with shrimp, zoologist Tsunemi Kubodera and whale-watcher Kyochi Mori attracted an Architeuthis about 2950 feet beneath their vessel. Five hundred still images were then snapped by a submerged camera before the squid took off—leaving behind an 18-foot severed tentacle.

18. … And the world’s first giant squid video didn’t arrive until 2006.

Kubodera would top himself that year when his crew videotaped a young female as they dragged her up to the surface. “We believe this is the first time anyone has successfully filmed a giant squid that was alive,” he said. “Now that we know where to find them, we think we can be more successful at studying them in the future.” Sadly, Kubodera’s prize died during the ordeal.

19. Jellyfish help Architeuthis hunt.

They say the enemy of your enemy is your friend. Certain jellyfish are bioluminescent, which means that they can light themselves up and illuminate the ocean’s inky depths. Predators like giant squid eat many of the fish that hunt jellyfish. So, if a bioluminescent jelly finds itself under attack, it can issue a cry for help by flashing a distress signal, in the hopes that it might attract an even larger carnivore and scare off its assailant. That was the theory behind luring the giant squid with an electronic jellyfish, as seen in the recent NOAA video.

20. It’s not the only monster-sized squid out there.

Meet Mesonychoteuthis hamiltoni, better known as the colossal squid. Though Architeuthis probably exceeds it length-wise, M. hamiltoni is heavier on average, has even bigger eyeballs, and wields swiveling hooks on its tentacles. This isn't a creature you’d want to mess with.

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