plate no. 6892
July 14th at Havre
Albert Marquet, 1906
recreation guide
Albert Marquet’s *July 14th at Havre* (1906) represents a pivotal moment in his transition from the intense, pure colors of early Fauvism to a more naturalistic, yet still highly stylized, impressionist approach. While Marquet exhibited with the Fauves in 1905, he was already distinguishing himself by using less violent colors and emphasizing tones mixed from complementaries rather than pure hues (Source 8). This work, created just before his dedicated series of Paris city views in 1907, likely exhibits the 'grayed yellows, greyed violets or blues' that characterized his mature style, avoiding the 'bright and violent colors' of his peers (Source 8). The painting is a cityscape, a genre Marquet approached with an approximation of traditional perspective, using calligraphic lines to cut the plane of the rectangle (Source 8).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Linseed oil base) | Primary medium. Linseed oil is the most general-purpose drying oil, providing a strong paint film (Source 2). | Standard tube oil paints |
| Raw Umber | For setting the palette and initial underpainting, as advised for painting from life to establish structure (Source 1). | Raw Umber tube paint |
| White Pigment (Titanium or Zinc) | For mixing lighter colors. Historically, lead white was used for opacity and fast drying, but modern equivalents like Titanium or Zinc are safer (Source 2). | Titanium White or Zinc White |
| Turpentine | To thin the paint for the initial stages and brushwork (Source 1). | Odorless mineral spirits or turpentine |
| Canvas or Linen | Support for the oil paint. Linen is historically consistent with the flax plant origins of oil painting supports (Source 2). | Primed linen or cotton canvas |
| Charcoal | For initial drawing and shading, allowing for easy correction before paint is applied (Source 1). | Vine charcoal or compressed charcoal |
preparation
surface prep
Prepare a linen or canvas support. While specific priming instructions for Marquet are not detailed in the sources, standard oil painting practice involves a gesso or oil ground to prevent oil from rotting the canvas fibers. Given Marquet’s emphasis on drawing and structure, a smooth to medium-tooth surface is likely preferred to allow for the 'calligraphically drawn' lines mentioned in his city views (Source 8).
underdrawing
Begin with a charcoal drawing. Source 1 advises to 'Draw and then shade in charcoal' and to 'make all corrections while you can in the charcoal stage' because charcoal offers little resistance to a brush and can be erased with bread. This is critical because 'much correcting in paint is fatal to lucidity' (Source 1). Marquet’s work is characterized by 'fine control of the drawing' (Source 8), so precise initial lines are essential.
underpainting
Set the palette with raw umber and a softer white, using turpentine to thin the mixture (Source 1). Apply a thin wash to establish the basic values and composition. This step allows the artist to 'go over it at least three or four times' to build up the image gradually, ensuring structural accuracy before applying opaque color (Source 1).
color palette
Grayed Yellows
Yellow ochre mixed with complementary violet or blue tones
General use in Marquet’s palette for streets and sidewalks, avoiding pure bright tones (Source 8).
Grayed Violets/Blues
Ultramarine or Cobalt Blue mixed with complementary orange or red tones
Shadows and atmospheric elements, consistent with Marquet’s preference for mixed complementaries rather than pure hues (Source 8).
Black
Ivory Black or mixed darks
Violent contrast against light colors, particularly for forms like bare tree trunks or calligraphic figures (Source 8).
Light Tones (White/Cream)
White pigment with minimal tinting
Highlights and light areas, potentially using safflower or poppyseed oil-based whites to prevent yellowing if long-term stability is desired (Source 2).
composition
Marquet’s cityscapes often use an 'approximation of traditional perspective' but disrupt the plane with 'calligraphy' and strong contrasts (Source 8). The composition should balance the 'harmonies of contrast' with 'harmonies of analogy' to avoid confusion, especially in a scene with numerous elements (Source 3). The eye should be guided through groups of forms, ensuring that the distribution of figures or architectural elements covers the canvas without 'cold symmetry' (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the scene in charcoal, focusing on accurate proportions and structure. Use a hand-mirror to compare the drawing with the reference or life model, holding the drawing at arm's length to check scale (Source 1).
Tip — Correct all errors in charcoal before applying paint. Do not hesitate to hold the brush against the model to ascertain lengths (Source 1).
Charcoal underdrawing
underpainting
step 02
Mix raw umber and white with turpentine to create a thin wash. Block in the major shapes and values, establishing the light and shadow structure.
Tip — This layer is not the final image; it is a guide for subsequent layers. Plan to go over the painting at least three or four times (Source 1).
Imprimatura/Wash
first pass
step 03
Begin applying color in thin layers. Use Marquet’s characteristic 'grayed' tones, mixing complementaries to avoid pure, violent colors (Source 8). Focus on the 'harmonies of analogy' to create a cohesive atmosphere (Source 3).
Tip — Avoid putting down paint with obvious errors in construction. If a mistake is made, scrape it back or wait for it to dry before correcting (Source 1).
Glazing/Thin application
refining
step 04
Build up the paint layers, adding depth and texture. Use black sparingly for 'violent contrast' against light areas, such as tree trunks or figures (Source 8). Enhance color intensity by surrounding hues with their complements, e.g., making orange tones appear more orange by placing them next to blue tones (Source 4).
Tip — Be mindful of the 'laws of contrast of colour' to ensure the scene does not become visually confusing (Source 3).
Color contrast enhancement
finishing
step 05
Add final details and calligraphic lines that define the architectural forms and figures. Ensure the composition balances the 'groups' of elements so the eye can move easily across the canvas (Source 3).
Tip — Step back frequently to assess the overall harmony and balance. The goal is a 'sober' yet vivid representation, avoiding the 'mournful' or overly chaotic (Source 3).
Calligraphic line work
critical techniques
Mixing Complementaries
Marquet used mixed complementaries to create 'less intense tones' rather than pure grays or bright colors, distinguishing his style from other Fauves (Source 8).
Color Contrast Laws
Using complementary colors in juxtaposition to enhance the intensity of a hue without changing the pigment itself (Source 4).
Charcoal Correction
Making all structural corrections in the charcoal stage to preserve the lucidity of the final paint layers (Source 1).
common pitfalls
- →Applying paint with obvious errors in construction, which leads to 'perplexities' and loss of lucidity (Source 1).
- →Using pure, violent colors instead of Marquet’s characteristic grayed tones, which would misrepresent his 1906 style (Source 8).
- →Creating a composition with 'cold symmetry' or confusing distribution of groups, which hinders the viewer’s ability to fix their attention (Source 3).
- →Over-correcting in paint, which is 'fatal to lucidity' (Source 1).
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 or sizes used by Marquet are not detailed in the sources.
- ·The exact ratio of oil to turpentine for Marquet’s glazes is not specified, though Source 1 suggests using turpentine for the initial stages.
- ·The specific pigments used for 'grayed violets' or 'grayed yellows' are inferred from general color theory and Marquet’s style, but exact historical pigment recipes are not provided.
- ·The specific viewpoint or angle of *July 14th at Havre* is not described in the sources, so the composition must be inferred from general cityscape principles and Marquet’s known style.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- PAINTING FROM LIFE — applied to Underdrawing, underpainting, and correction techniques
Laws of Contrast of Colour↗
- 620-622 — applied to Composition and color harmony principles
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Color contrast and intensity enhancement
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 4 — applied to Materials and pigment properties
Wikipedia bio — Albert Marquet↗
- part 2 — applied to Artist’s style, palette, and compositional habits
Read more about the corpus on the sources page and how the guides are built on the methods page.
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