plate no. 8571

Port of Marseilles

Albert Marquet, 1916

oilPost-Impressionismmarinaharborboatswaterbuildingsskycityscape

recreation guide

Albert Marquet’s *Port of Marseilles* (1916) represents a mature phase of his Post-Impressionist practice, characterized by a departure from the intense, violent colors of his early Fauvist period toward a more naturalistic yet highly stylized approach. Marquet is known for using less bright colors than his contemporaries, favoring grayed yellows, greyed violets, and blues, while employing black as a violent contrast to light colors for structural forms like tree trunks or calligraphic figures (Source 7). The work likely exhibits his characteristic use of an approximation of traditional perspective, where colors and compositions refer to the rectangle and cut its plane with calligraphic lines (Source 7). The painting avoids the 'meretricious attempt to deceive the eye' in favor of expressing feeling through painted symbols, maintaining the vitality of the oil medium (Source 6).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White Lead/Titanium White, Yellow Ochre, Red Ochre, Black)	Primary palette for grisaille and glazing	Titanium White, Ultramarine Blue, Yellow Ochre, Red Ochre, Mars Black
Oil of Copavia (or modern linseed/walnut oil)	Medium for the first and second paintings, as per Reynolds' method cited in sources	Stand Oil or Linseed Oil
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar Varnish or Synthetic Resin Varnish
Canvas or Panel	Support for oil painting	Linen canvas primed with gesso
Brushes (various sizes)	For broad masses and calligraphic details	Hog bristle for impasto, sable for glazing

preparation

surface prep

Prepare a neutral ground. While specific priming for this 1916 work is not detailed, Marquet’s practice involved building up layers. A white or light gray ground is typical for Post-Impressionist works to allow for the luminosity required by glazing techniques. Ensure the surface is smooth enough to support the 'calligraphic' lines Marquet is known for, but textured enough to hold the oil medium.

underdrawing

Marquet’s work is characterized by 'calligraphically drawn' elements and an emphasis on drawing (Source 7). Begin with a light, loose underdrawing that establishes the 'approximation of traditional perspective' and the rectangular composition (Source 7). Do not over-model or become 'too much tied down to your outline,' as this is a common pitfall warned against in copying exercises (Source 4). The drawing should serve as a basis for holding the picture together, similar to the outline basis used by earlier masters, but fused with color (Source 5).

underpainting

Create a monochrome underpainting (grisaille). Mentally extract red and yellow colors, translating what would be left in nature if these two colors were not present (Source 1). Use black, ultramarine, and white with oil of copavia (or a similar medium) for the first and second paintings (Source 1). This grisaille should establish the tonal values and composition without color, allowing for the subsequent application of color through glazing.

color palette

Grayed Yellows

Yellow Ochre mixed with White and a touch of Ultramarine/Black

Light areas, streets, sidewalks, and general luminosity, consistent with Marquet’s preference for grayed yellows (Source 7)

Greyed Violets/Blues

Ultramarine mixed with White and Red Ochre/Black

Shadows, water, and atmospheric tones, reflecting Marquet’s use of greyed violets or blues (Source 7)

Black

Ivory Black or Mars Black

Violent contrast to light colors, used for bare tree trunks, calligraphic figures, and structural forms (Source 7)

Red/Yellow Tones

Red Ochre, Yellow Ochre, Vermilion (if available)

Applied via glazing and scumbling over the dry grisaille to introduce warmth and local color (Source 1)

White

White Lead or Titanium White

Highlights and mixing to create the 'grayed' tones characteristic of Marquet’s palette (Source 7)

composition

The composition likely utilizes an 'approximation of traditional perspective' where the colors and compositions constantly refer to the rectangle and cut its plane with calligraphy (Source 7). Marquet’s city views often feature a balance between broad masses and calligraphic details. Avoid 'smallness' or over-modeling; instead, focus on the 'large sense of design' and the emotional intention expressed through form and color (Source 5). The arrangement should harmonize colors inherent to the nature of the objects (marina, water, buildings) while allowing for the artist’s choice in background and accessories (Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition lightly, focusing on the rectangular structure and calligraphic lines for key elements like masts or buildings.
Tip — Do not become too tied down to the outline; keep it loose to allow for color fusion.
Calligraphic Drawing

underpainting

step 02
Apply a grisaille using black, ultramarine, and white with oil of copavia. Mentally exclude red and yellow to establish tonal values.
Tip — Ensure the grisaille is quite dry before proceeding to glazing.
Monochrome Underpainting

first pass

step 03
Begin glazing and scumbling with oil. Apply yellow and red tones as they occur, similar to tinting an engraving with watercolors.
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Use scumbling over darker grounds to achieve a 'grey bloom' or coldness if needed.
Glazing and Scumbling

refining

step 04
Introduce Marquet’s characteristic grayed yellows, greyed violets, and blues. Use black for violent contrasts in structural forms.
Tip — Be aware of simultaneous contrast; adjacent colors will affect each other’s appearance. Adjust tones to harmonize the composition.
Color Harmonization

finishing

step 05
Refine the calligraphic lines and ensure the 'large sense of design' is maintained. Avoid over-modeling details that might obscure the main idea.
Tip — Check for 'smallness' or excessive detail that detracts from the emotional appeal of pure form and color.
Calligraphic Refinement

varnishing

step 06
Once the painting is dry, apply a varnish mixed with oil for final glazing if necessary, to gain mastery over the transparent effects.
Tip — This step is for advanced mastery; ensure the underlying layers are completely dry to prevent cracking.
Varnish Glazing

critical techniques

Glazing and Scumbling

Used to apply transparent and semi-opaque layers of color over a dry grisaille. This allows for the modulation of tone and color without muddying the underlying values. Marquet’s use of grayed tones suggests a sophisticated use of these techniques to achieve luminosity.

Calligraphic Line

Marquet uses black and strong contrasts to create calligraphic lines that cut the plane of the composition. This is a signature element of his style, providing structure and rhythm.

Simultaneous Contrast

Understanding that adjacent colors affect each other’s appearance. This is crucial for harmonizing the grayed yellows, violets, and blues in the marina scene.

common pitfalls

→Over-modeling or becoming too tied down to the outline, which can lead to 'smallness' and a loss of the large sense of design (Source 4, Source 5).
→Using too bright or violent colors, which contradicts Marquet’s mature style of grayed tones and mixed complementaries (Source 7).
→Ignoring the effects of simultaneous contrast, leading to disharmonious color relationships (Source 2).
→Attempting to deceive the eye with excessive naturalism rather than expressing feeling through painted symbols (Source 6).
→Applying glazes before the underpainting is completely dry, which can cause cracking or muddiness (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 details of the *Port of Marseilles* (1916) composition, such as the exact arrangement of boats, buildings, or figures, are not described in the sources. The guide relies on Marquet’s general style for this period.
·The exact pigment mixtures for Marquet’s 'grayed' tones are inferred from his described palette (grayed yellows, violets, blues) and general oil painting practices, but specific recipes are not provided.
·The specific medium Marquet used in 1916 is not explicitly stated, though the sources suggest oil of copavia or similar mediums for glazing.

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, glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and smallness
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmonization and simultaneous contrast
The Practice and Science of Drawing↗
- STUDY BY WATTEAU — applied to Importance of large sense of design and emotional appeal
- XX MATERIALS — applied to Philosophy of using oil paint as a medium for expression rather than deception