Marc aimed for "pure painting" based on the artist's vital emotions as a means of expression using animal painting with the inner spiritual "animalization of art" as the guiding principle of sensing and expressing the essence of the natural world. However, in his later works after the publication of the annual magazine "The Blue Rider", he changed from figurative expression centered on animal paintings to abstract expression. The immediate impetus for this was his encounter with Italian Futurism and Robert Delaunay's Orphism. The reasons for Marc's acceptance of these new arts and how they influenced his artistic philosophy and production have not always been fully studied. In this paper, we clarify the reasons for Marc's acceptance of Futurism and Delaunay's Orphism, and what kind of influence it had on Marc's art, by examining Marc's letters, Marc's essays, and previous research, and clarify the path from figurative animal painting to pure abstraction. I aimed to do that. The reason Marc accepted Futurism and Delaunay's Orphism was that he believed that these new arts were on common ground with Marc's goal of "pure painting" and would contribute to its realization. The influence of Futurism on Marc's work, especially Boccioni, is expressed in the acceptance of the dynamic compositional expression of Futurism in many of the works of the late Marc period. It is no exaggeration to say that the color cubism, named Orphism, left traces of its influence in almost all of Marc's later works due to its transparent prisms, faceted surfaces, and mesh patterns of moving color planes.