plate no. 7547
Notre-Dame in the Rain
Albert Marquet, 1910
recreation guide
Albert Marquet’s 'Notre-Dame in the Rain' (1910) represents a pivotal moment in his transition from early Fauvism to a more nuanced, atmospheric style. While associated with the Fauve movement, Marquet distinguished himself by using less violent colors than his contemporaries like Matisse or Vlaminck, favoring instead 'grayed yellows, greyed violets or blues' and emphasizing tones made by mixing complementaries rather than pure grays (Source 5). The work is characterized by a 'calligraphic' approach to form, where black is used as a violent contrast to light colors, particularly for structural elements like tree trunks or architectural lines, set against light streets or skies (Source 5). The painting likely employs an approximation of traditional perspective, but the composition is defined by the interplay of these calligraphic lines and the rectangular plane of the canvas (Source 5).
estimated time
20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary drying oil for mixing paints and creating glazes; standard for oil painting (Source 4). | — |
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Vermilion/Red Ochre) | Core palette. Marquet used complementaries to create grayed tones; ultramarine and white were key for his blue/gray skies and structures (Source 1, Source 5). | — |
| Varnish (optional, for advanced glazing) | Used in conjunction with oil for glazing once mastery is gained, to create transparent color layers (Source 1). | Dammar varnish or modern painting medium |
| Canvas or linen support | Standard support for oil painting (Source 4). | — |
preparation
surface prep
Prepare a standard oil-primed canvas. While Marquet’s specific ground preparation is not detailed in the sources, the technique described in Source 1 implies a dry, monochromatic underlayer (grisaille) is essential. Ensure the surface is smooth enough to allow for the 'calligraphic' line work characteristic of Marquet’s style (Source 5).
underdrawing
Marquet’s work is noted for its 'fine control of the drawing' and 'calligraphically drawn' elements (Source 5). Begin with a light, loose underdrawing that emphasizes the structural lines of the cathedral and the surrounding environment. Avoid rigid, heavy outlines; instead, use the drawing to establish the 'approximation of traditional perspective' while allowing the composition to be cut by the calligraphic lines (Source 5).
underpainting
Create a grisaille (monochrome) underpainting. According to Source 1, this involves 'mentally extracting the red and yellow colours' and painting what would be left in nature if those colors were absent. Use black, ultramarine, and white (as suggested by Reynolds in Source 1) to establish the values and forms. This layer must be completely dry before proceeding. This step is crucial for Marquet’s method of building color through glazing rather than direct mixing of all hues.
color palette
Grayed Blue/Violet
Ultramarine mixed with White and small amounts of complementary Red/Orange to neutralize without shifting hue drastically (Source 3, Source 5).
Skies and atmospheric shadows; Marquet favored 'greyed violets or blues' (Source 5).
Grayed Yellow
Yellow Ochre or Cadmium Yellow mixed with White and complementary Violet/Blue to create a muted tone (Source 3, Source 5).
Streets, sidewalks, and illuminated areas; Marquet used 'grayed yellows' for light tones (Source 5).
Black
Pure Black or very dark Ultramarine/Black mix.
Violent contrast for structural forms like tree trunks or architectural details (Source 5).
Transparent Red/Yellow Glazes
Vermilion, Cadmium Yellow, or Alizarin Crimson thinned with oil/varnish.
Glazing over the dry grisaille to reintroduce color warmth and depth (Source 1).
composition
Avoid exact bisections of the picture space; position the horizon line to emphasize either the sky or the ground, likely showing more sky if the focus is on the cathedral’s verticality against the rain (Source 7). Marquet’s compositions often refer to the rectangle of the canvas, cutting its plane with calligraphic lines (Source 5). Ensure there is a center of interest (the cathedral) but allow the viewer’s eye to move around the elements via the contrast between detailed areas and 'rest' areas (Source 7). Use small, high-contrast elements (like the black lines) to balance larger, duller areas of grayed color (Source 7).
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Paint a grisaille underlayer using black, ultramarine, and white. Focus on values and forms, mentally excluding red and yellow tones as if they were not present in nature (Source 1).
Tip — Ensure this layer is completely dry before proceeding. This is the foundation for the glazing technique.
Grisaille
first pass
step 02
Apply transparent glazes of yellow and red tones over the dry grisaille. Use oil as a medium initially. This mimics tinting an engraving with watercolors (Source 1).
Tip — Glazing is a transparent coat of color. It allows the underlying monochrome to show through, creating depth.
Glazing
refining
step 03
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create a 'grey bloom' or coldness if needed (Source 1). Marquet’s style involves mixing complementaries to create grayed tones rather than using pure grays (Source 5).
Tip — Scumbling allows the underlying painting to make itself felt. Be careful not to muddy the colors; use it to soften transitions.
Scumbling
step 04
Introduce black as a violent contrast for specific forms, such as architectural lines or tree trunks, against the lighter, grayed yellow or orange backgrounds (Source 5).
Tip — Use black sparingly but decisively to create the 'calligraphic' effect characteristic of Marquet’s city views (Source 5).
Contrast
finishing
step 05
Adjust simultaneous contrasts. Ensure that juxtaposed colors enhance each other; for example, a grayed violet next to a grayed yellow will heighten the perception of both tones (Source 2).
Tip — Check that the 'weaker tones' are seen in coloristic terms, not just as values (Source 5).
Simultaneous Contrast
critical techniques
Glazing and Scumbling
Marquet’s method, like that of old masters, likely involved glazing transparent colors over a dry monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque layers that interact with the underlayer (Source 1).
Complementary Mixing for Grayed Tones
Instead of using pure grays, Marquet mixed complementaries to create 'grayed yellows, greyed violets or blues' (Source 5). This maintains chromatic interest while reducing intensity.
Calligraphic Line
Use of black lines to define forms and cut the plane of the canvas, creating a rhythmic, calligraphic quality (Source 5).
common pitfalls
- →Using pure black to darken colors, which can cause hue shifts toward green or blue (Source 3). Instead, use complementary colors to neutralize and darken.
- →Adding white to reds/oranges to lighten them, which can cause a shift toward blue (Source 3). Correct this by adding a small amount of an adjacent color (e.g., orange to red-white mix).
- →Applying glazes before the underpainting is completely dry, which will muddy the colors and ruin the transparency (Source 1).
- →Using bright, violent colors typical of other Fauves; Marquet’s style is more subdued and atmospheric (Source 5).
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 Marquet used are not mentioned in the sources.
- ·Exact proportions of oil to pigment for his glazes are not specified, though Source 1 suggests starting with oil and moving to varnish/oil mixes.
- ·The specific weather conditions or time of day depicted in 'Notre-Dame in the Rain' are not detailed in the sources, so atmospheric interpretation is left to the artist's discretion based on the title.
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↗
- 6. Put beside each other two flat tints... — applied to Simultaneous contrast and color harmony.
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 Palette choices (grayed tones, complementaries), calligraphic style, and contrast usage.
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Mixing tints and shades without hue shift.
Wikipedia: Oil painting↗
- Oil painting — part 4 — applied to Materials and drying oils.
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to Compositional balance and focal points.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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