plate no. 0154
Parisian Suburb
Albert Marquet, 1897
recreation guide
Albert Marquet’s *Parisian Suburb* (1897) represents an early work in the artist’s career, predating his association with Fauvism but aligning with the Post-Impressionist landscape tradition. Marquet, a lifelong friend of Henri Matisse, is documented as having painted primarily in an impressionist style, focusing on landscapes (Source 7). This work likely reflects the influence of the Barbizon School and the broader French landscape tradition that emphasized painting outdoors and capturing the specific nature of the homeland (Source 5). The painting is characterized by a focus on light and color harmony, principles that Marquet would later refine. The composition likely features a wide view with elements arranged into a coherent whole, typical of landscape painting where the sky and weather are integral to the mood (Source 4).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre) | Primary pigments for the grisaille underpainting and subsequent glazing | — |
| Linseed oil or Oil of Copavia | Medium for the first and second paintings, as suggested by historical practices cited in Reynolds' method | Stand oil or refined linseed oil |
| Varnish | To be mixed with oil for later glazing stages to achieve transparency | Dammar varnish or synthetic resin varnish |
| Canvas or Panel | Support for the oil painting | Linen canvas primed with gesso |
| Brushes (Flat and Filbert) | For applying the monochrome underpainting and subsequent glazes | — |
preparation
surface prep
The surface should be prepared with a neutral ground, likely white or light grey, to facilitate the 'fat over lean' principle and allow for the visibility of the underpainting. While specific preparation for this 1897 work is not detailed in the sources, the general practice of the period and the technique of glazing over a monochrome suggest a smooth, absorbent ground is beneficial (Source 3).
underdrawing
Marquet’s specific preparatory drawing methods for this work are not described in the sources. However, given the Impressionist/Post-Impressionist context, the underdrawing was likely minimal or executed directly in paint to capture the 'prompt and sure' imitation of light modifications (Source 1).
underpainting
A monochrome underpainting (grisaille) is recommended, using black, ultramarine, and white, as described in Sir Joshua Reynolds’ method which aligns with the old masters’ practice of establishing tone before color (Source 3). This step involves mentally extracting red and yellow colors to establish the tonal structure (Source 3).
color palette
Ultramarine
Pure Ultramarine
Underpainting and sky tones, consistent with the cool tones often found in Marquet’s landscapes
White
Lead White or Titanium White
Highlights and mixing with ultramarine for the grisaille
Black
Ivory Black
Shadows and tonal depth in the grisaille
Yellow Ochre
Yellow Ochre
Glazing to introduce warmth and earth tones, as per the glazing technique
Red Ochre/Venetian Red
Red Ochre
Glazing to introduce warmth and flesh/earth tones, as per the glazing technique
composition
The composition likely follows the tradition of landscape painting where the sky is almost always included and weather is an element of the composition (Source 4). Marquet’s work is characterized by a focus on the inherent nature of the objects, harmonizing colors that are essentially inherent to the model (Source 1). The arrangement likely avoids arbitrary color choices, instead substituting true colors with those of a neighboring scale to achieve harmony (Source 2).
step by step
underpainting→first pass→refining→finishing→varnishing
underpainting
step 01
Create a monochrome grisaille using black, ultramarine, and white. Focus on establishing the tonal values and light modifications without using red or yellow pigments.
Tip — Mentally extract red and yellow colors to see the underlying structure (Source 3).
Monochrome Underpainting
first pass
step 02
Once the grisaille is dry, begin glazing with oil. Apply transparent coats of yellow and red tones to introduce color, similar to tinting an engraving with watercolors.
Tip — Use oil of copavia or linseed oil as a medium for the first painting (Source 3).
Glazing
refining
step 03
Apply scumbling, a semi-opaque painting technique, over darker grounds to create coldness or grey blooms. This helps in harmonizing colors that are inherent to the nature of the objects.
Tip — Be aware that scumbling over darker grounds tends to coldness (Source 3).
Scumbling
finishing
step 04
Refine the color harmony by considering the simultaneous contrast of colors. Ensure that contiguous colors modify each other appropriately, lowering the lightest tone and heightening the darkest.
Tip — Perceive and imitate modifications of light on the model promptly and surely (Source 1).
Simultaneous Contrast
varnishing
step 05
Apply a final varnish to protect the painting and enhance the depth of the glazes.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
critical techniques
Simultaneous Contrast
Used to harmonize colors by understanding that contiguous colors modify each other. The painter must appreciate the color peculiar to each part and the modifications they receive from contiguous colors (Source 1).
Glazing and Scumbling
Glazing involves applying transparent coats of color, while scumbling involves semi-opaque painting. These techniques were used by old masters to achieve color harmony and tonal depth (Source 3).
Monochrome Underpainting
Establishing the tonal structure with a grisaille before adding color. This method allows for greater control over light and shadow (Source 3).
common pitfalls
- →Failing to allow the grisaille to dry completely before glazing, which can lead to muddiness.
- →Ignoring the law of simultaneous contrast, resulting in colors that do not harmonize with their neighbors (Source 1).
- →Overworking the paint, which can destroy the spontaneous effects produced by contrast (Source 2).
- →Using opaque colors too early, which can obscure the tonal structure established in the underpainting.
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 details of the *Parisian Suburb* composition, such as the exact placement of buildings or trees, are not described in the sources.
- ·Marquet’s specific palette for this 1897 work is not detailed, so the palette is inferred from general Post-Impressionist practices and the glazing technique described in Source 3.
- ·The exact medium used by Marquet for this painting is not specified, so historical equivalents like oil of copavia are suggested based on Reynolds’ method (Source 3).
- ·The specific lighting conditions and weather depicted in the painting are not described, so the artist must rely on general landscape painting principles (Source 4).
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Understanding how contiguous colors modify each other to achieve harmony
The Practice of Oil Painting↗
- Colouring a Monochrome — applied to Technique of glazing and scumbling over a grisaille underpainting
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to General principles of landscape composition and the inclusion of sky and weather
Wikipedia bio — Albert Marquet↗
- Albert Marquet — part 1 — applied to Context of Marquet’s style and focus on landscapes
Read more about the corpus on the sources page and how the guides are built on the methods page.
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