plate no. 6527
Embankments of the Seine in Paris
Albert Marquet, 1907
recreation guide
Albert Marquet’s 'Embankments of the Seine in Paris' (1907) is a cityscape executed in oil, situated within the Post-Impressionist style. While the specific visual details of this particular canvas are not described in the provided sources, Marquet’s general practice during this period is characterized by a focus on atmospheric effects and the interplay of light and shadow rather than rigid linear definition. The recreation should prioritize the 'modifications of the light' and the 'harmonizing' of colors inherent to the landscape, as suggested by the principles of simultaneous contrast (Source 2). The work likely employs a method where broad masses are established first, avoiding 'smallness' or over-modeling, consistent with advice on copying masters to correct tendencies toward excessive detail (Source 6).
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary drying oil for mixing pigments and creating glazes | Refined linseed oil |
| Oil of copavia | Historical medium mentioned for first and second paintings to ensure flow and transparency | Gum turpentine or odorless mineral spirits mixed with linseed oil |
| White lead (or Titanium White) | Dominant white pigment for opacity and fast drying; historically standard | Titanium White (non-toxic alternative) |
| Ultramarine | Key blue pigment for shadows and sky, cited in Reynolds' method | Ultramarine Blue |
| Black (Ivory or Lamp Black) | For establishing dark tones and grisaille underpainting | Ivory Black |
| Yellow Ochre and Red Ochre | Earth tones for 'broken tones' and naturalistic grounding, cited as sufficient for many effects | Yellow Ochre, Red Ochre |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparency | Dammar varnish |
preparation
surface prep
The surface should be prepared to accept oil paints. While specific canvas preparation for Marquet is not detailed in the sources, the general practice of oil painting requires a stable ground. The sources imply a traditional approach where the 'knowledge of his medium' is essential (Source 6). A standard oil-primed linen or canvas board is appropriate.
underdrawing
Contour drawing techniques may be used to establish the 'mass and volume' of the embankments and river without focusing on minor details (Source 7). The lines should emphasize form and space rather than rigid outlines, allowing for the 'three-dimensional perspective' inherent in the cityscape (Source 7).
underpainting
A grisaille (monochrome) underpainting is recommended. The artist should mentally 'extract the red and yellow colours' and paint the remaining tones in black, ultramarine, and white (Source 1). This establishes the value structure before color is introduced. This method aligns with Sir Joshua Reynolds' cited practice of using black, ultramarine, and white for the first and second paintings (Source 1).
color palette
Grey/Blue-Grey
White lead, Ultramarine, Black
Shadows and atmospheric tones in the grisaille and initial layers
Yellow/Red Tones
Yellow Ochre, Red Ochre, potentially Massicot or Cinnabar if historical accuracy is prioritized
Glazing and scumbling to introduce warmth and light, applied over the dry grisaille
Earth Tones
Natural and burnt ochres, brown earths
Broken tones and naturalistic elements of the embankments, providing 'covering well' and 'drying easily' qualities (Source 3)
composition
The composition should avoid exact bisections of the picture space and ensure the horizon line does not divide the artwork in two equal parts (Source 5). The prominent subject (likely the embankment or river flow) should be off-centre to create balance with smaller satellite elements (Source 5). The direction of the viewer's eye should lead around all elements before leading out of the picture, preventing the work from becoming a mere pattern (Source 5).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the basic contours of the embankments and river, focusing on mass and volume rather than detail.
Tip — Use lighter lines for distant elements and darker lines for compressed space or shadowed areas (Source 7).
Contour drawing
underpainting
step 02
Create a grisaille using black, ultramarine, and white. Mentally exclude red and yellow tones to establish the value structure.
Tip — Ensure this layer is completely dry before proceeding. This mimics the 'first and second paintings' method cited by Reynolds (Source 1).
Grisaille
first pass
step 03
Apply glazes of yellow and red tones over the dry grisaille. Use oil of copavia or a similar medium for transparency.
Tip — Treat this like tinting an engraving with watercolors, allowing the underlying monochrome to show through (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create a 'grey bloom' or coldness where needed.
Tip — Be aware that scumbling over darker grounds tends to coldness, which can be useful for atmospheric effects in cityscapes (Source 1).
Scumbling
step 05
Adjust colors based on simultaneous contrast. Ensure that adjacent colors modify each other appropriately, heightening the darkest tones and lowering the lightest tones where juxtaposed.
Tip — Check for 'mixed contrast' effects where the eye might perceive a complementary tint due to fatigue or previous viewing (Source 2).
Simultaneous Contrast
finishing
step 06
Review the composition for balance. Ensure no spaces between objects are identical and that the center of interest is clear.
Tip — Avoid 'smallness' or over-modeling; focus on broad masses and great effects (Source 6, Source 4).
Compositional Balance
critical techniques
Glazing and Scumbling
Used to build color transparency and texture over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture, allowing the underlayer to influence the final appearance (Source 1).
Simultaneous Contrast
Applied to harmonize colors inherent to the landscape. The artist must perceive how adjacent colors modify each other, ensuring that the 'lightest tone will be lowered, and the darkest tone will be heightened' in juxtaposition (Source 2).
Grisaille Underpainting
Establishes the value structure using only black, white, and ultramarine, excluding red and yellow initially. This allows for precise control over light and shadow before introducing color (Source 1).
common pitfalls
- →Over-modeling or focusing on 'smallness' instead of broad masses, which can detract from the overall effect (Source 6).
- →Ignoring the effects of simultaneous contrast, leading to colors that appear inaccurate or disharmonious due to adjacent influences (Source 2).
- →Applying glazes before the underpainting is completely dry, which can muddy the colors and ruin the transparency effect (Source 1).
- →Using a palette that is too restricted or too profuse without understanding the properties of the pigments, such as their drying times and covering qualities (Source 3).
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 visual details of 'Embankments of the Seine in Paris' (e.g., exact placement of boats, buildings, or figures) are not described in the sources.
- ·Marquet's specific brushwork style for this particular painting is not detailed; the guide relies on general Post-Impressionist and oil painting techniques.
- ·The exact ratio of oil to pigment for Marquet's glazes is not specified, requiring the artist to experiment with consistency.
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 Grisaille underpainting, glazing, and scumbling techniques
- ON COPYING — applied to Advice against over-modeling and focusing on broad masses
Laws of Contrast of Colour↗
- 315-318 — applied to Simultaneous contrast and color harmony adjustments
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Selection of earth tones and pigment properties
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Composition (visual arts)↗
- part 6 — applied to Compositional balance and horizon line placement
Wikipedia: Contour drawing↗
- part 1 — applied to Underdrawing technique for mass and volume
Read more about the corpus on the sources page and how the guides are built on the methods page.
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