plate no. 7138
Bay of Naples
Albert Marquet, 1908
recreation guide
Albert Marquet’s 'Bay of Naples' (1908) represents a transitional phase in his career, moving away from the intense, violent colors of early Fauvism toward a more naturalistic yet structurally rigorous style. While Marquet exhibited with the Fauves in 1905, he is distinctively known for using less bright colors than his peers, favoring grayed yellows, violets, and blues, and mixing complementaries to create tones that remain colorful rather than turning to gray (Source 6). This work likely reflects his characteristic use of black as a violent contrast to light colors, particularly in defining forms against lighter backgrounds, and his adherence to an approximation of traditional perspective that is cut by calligraphic lines (Source 6). The painting embodies the Post-Impressionist interest in the structural integrity of the image, where the artist expresses feeling through painted symbols rather than mere illusionistic deception (Source 7).
estimated time
20-30 hours over 5-7 sessions (allowing for drying times between glazing layers)
materials
5 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (White Lead or Titanium White, Yellow Ochre, Red Ochre, Ultramarine, Black) | Core palette for grisaille and glazing; consistent with historical practices and Marquet's use of earth tones and complementaries. | Titanium White (substitute for White Lead), Cadmium Yellow/Red (substitute for Ochres if needed, though Ochres are standard) |
| Linseed Oil | Medium for glazing and scumbling; essential for the 'fat over lean' rule. | Refined Linseed Oil |
| Mineral Spirits or Turpentine | Thinner for initial layers and cleaning; allows for 'lean' underpainting. | Odorless Mineral Spirits |
| Canvas or Panel | Support surface. | Linen canvas primed with gesso |
| Charcoal or Thinned Paint | Underdrawing. | Vine charcoal or raw umber thinned with solvent |
preparation
surface prep
Prepare a rigid or stretched canvas with a neutral ground. While specific priming for this exact work is not detailed, traditional oil painting techniques often begin with a prepared surface that allows for the layering of oil paint (Source 5). Marquet’s style, which relies on the contrast between dark calligraphic lines and light areas, benefits from a ground that does not compete with the transparency of the glazes.
underdrawing
Sketch the subject using charcoal or thinned paint. Marquet’s work is characterized by 'calligraphically drawn' elements and an emphasis on drawing control (Source 6). The underdrawing should establish the 'approximation of traditional perspective' and the structural lines that cut the plane of the rectangle (Source 6).
underpainting
Create a monochrome underpainting (grisaille). This technique involves mentally extracting red and yellow colors to establish the tonal structure first (Source 1). This aligns with the advice to begin with a sound craft foundation, ensuring the 'alphabet of our art' is established before adding color (Source 4). The grisaille should be allowed to dry completely before proceeding.
color palette
Grayed Yellows
Yellow Ochre mixed with White and small amounts of complementary Violet/Blue
Light areas, streets, or water reflections; consistent with Marquet's preference for grayed yellows (Source 6)
Grayed Violets/Blues
Ultramarine mixed with White and small amounts of Red Ochre
Shadows and atmospheric tones; consistent with Marquet's palette (Source 6)
Black
Ivory Black or Lamp Black
Violent contrast for forms like tree trunks or calligraphic lines against light backgrounds (Source 6)
Red/Yellow Tones
Red Ochre, Yellow Ochre, or Vermilion
Applied via glazing and scumbling over the dry grisaille to introduce color (Source 1)
composition
The composition likely utilizes an approximation of traditional perspective, but is defined by colors and compositions that 'refer to the rectangle and cut its plane with their calligraphy' (Source 6). Marquet characteristically uses black as a violent contrast to light colors, which may appear as dark vertical or linear forms against lighter, yellow or orange backgrounds (Source 6).
step by step
underdrawing→underpainting→first pass→drying→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition using charcoal or thinned paint, focusing on the calligraphic lines and structural perspective.
Tip — Ensure the lines define the forms that will later contrast with light areas.
Underdrawing
underpainting
step 02
Apply a monochrome grisaille using black, ultramarine, and white (or earth tones) to establish values. Mentally extract red and yellow colors at this stage.
Tip — Do not worry about color hue; focus on light and shadow structure.
Grisaille
first pass
step 04
Begin glazing and scumbling with oil. Apply transparent coats of yellow and red tones over the grisaille, similar to tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color; ensure the underlying painting makes itself felt through the layer (Source 1).
Glazing
drying
step 03
Allow the grisaille to dry completely. This is crucial for the subsequent glazing steps.
Tip — Oil paint dries by oxidation; wait until it is dry to the touch (approx. 2 weeks for some colors, though earth tones may dry faster) (Source 5).
Drying
refining
step 05
Use scumbling (semi-opaque painting) to adjust tones. When employed over a darker ground, scumbling tends to coldness, allowing for a 'grey bloom' effect.
Tip — Watch for the interaction between the semi-opaque layer and the dark ground beneath.
Scumbling
finishing
step 06
Apply black or dark tones for calligraphic lines and forms, creating violent contrast against the lighter, glazed areas.
Tip — Use black to define forms like tree trunks or figures against light backgrounds (Source 6).
Contrast
varnishing
step 07
Once fully dry, apply varnish if desired to unify the sheen and protect the glazes.
Tip — Ensure the painting is completely dry to prevent trapping solvents.
Varnishing
critical techniques
Glazing and Scumbling
Marquet’s style benefits from the old master technique of glazing transparent colors over a dry monochrome underpainting. This allows for the 'grey bloom' and subtle tonal variations characteristic of his work, avoiding the 'prejudice' against such methods among some modern painters (Source 1).
Simultaneous Contrast
Be aware that colors appear differently when viewed together. The painter must appreciate the modifications of tone and color received from contiguous colors to accurately imitate the model (Source 2).
Fat Over Lean
Each additional layer of paint should contain more oil than the layer below to ensure proper drying and prevent cracking. This is a basic rule of oil paint application (Source 5).
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to muddiness or cracking (Source 1, Source 5).
- →Ignoring the law of simultaneous contrast, leading to inaccurate color perception where the eye sees the complementary of the previously viewed color (Source 2).
- →Using too much oil in early layers or too little in later layers, violating the 'fat over lean' rule and risking structural failure of the paint film (Source 5).
- →Attempting to create illusionistic deception rather than expressing feeling through painted symbols, which contradicts the vital expression of the medium (Source 7).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific brush types used by Marquet for this particular work are not detailed in the sources.
- ·The exact ratio of varnish to oil for the final glazing stages is not specified, though 'varnish and oil mixed' is mentioned as an advanced technique (Source 1).
- ·The specific dimensions of the canvas are not provided in the sources.
- ·Detailed breakdown of the specific pigments used in the 'Bay of Naples' (e.g., whether he used synthetic ultramarine or natural lapis) is not available, though general period practices are inferred.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting (grisaille), glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding color interaction and simultaneous contrast
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using oil paint as expressive symbols rather than mere illusion
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Albert Marquet↗
- Life and work — applied to Artist's specific palette (grayed yellows/violets), use of black for contrast, and calligraphic style
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to General materials, 'fat over lean' rule, and drying times
Read more about the corpus on the sources page and how the guides are built on the methods page.
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