plate no. 5993
The Pont Saint-Michel and Notre Dame
Albert Marquet, 1905
recreation guide
Albert Marquet’s *The Pont Saint-Michel and Notre Dame* (1905) represents a pivotal moment in his transition from early Fauvism to a more naturalistic, yet distinctly modern, cityscape style. While Marquet exhibited with the Fauves at the 1905 Salon d'Automne, his approach differed significantly from contemporaries like Matisse or Vlaminck; he avoided 'violent' colors in favor of 'less intense tones made by mixing complementaries,' ensuring that his hues remained distinct colors rather than grays (Source 4). This work likely exhibits his characteristic use of 'grayed yellows, greyed violets or blues' to depict the Parisian atmosphere, contrasting these muted tones with the 'violent contrast' of black used for structural elements like tree trunks or architectural lines (Source 4). The painting reflects his lifelong friendship with Matisse and his training under Gustave Moreau, blending a fine control of drawing with a response to light that intensifies strong tones while rendering weaker ones in coloristic terms (Source 4).
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 |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Vermilion/Red Ochre) | Primary palette for underpainting and glazing. Marquet used complementaries to create muted tones rather than pure grays. | — |
| Linseed Oil or Oil of Copavia | Medium for the first and second paintings, as referenced in traditional methods Marquet may have studied or adapted. | Stand Oil or Walnut Oil for slower drying |
| Varnish (Dammar or similar) | Mixed with oil for later glazing stages to increase transparency and flow. | Artist's Varnish |
| Canvas or Panel | Support for the oil painting. | — |
preparation
surface prep
Prepare a neutral ground. While specific preparation for this 1905 work is not detailed in the sources, Marquet’s training under Gustave Moreau (a follower of Delacroix) and his adherence to traditional academic foundations suggest a primed canvas. The sources indicate a method involving a monochrome preparation (grisaille) before color application (Source 1).
underdrawing
Marquet is noted for having a 'fine control of the drawing' (Source 4). In his city views, he used 'calligraphically drawn' lines for forms such as bare tree trunks or figures, which served as violent contrasts to lighter areas (Source 4). The underdrawing should be precise, establishing the structural 'calligraphy' that cuts the plane of the rectangle (Source 4).
underpainting
Execute a grisaille (monochrome underpainting). The source text describes a method where the artist mentally extracts red and yellow colors, translating what would be left in nature if these were not present (Source 1). This underpainting establishes the value structure. Marquet’s style involved mixing complementaries to create tones that were 'always as colors and never as grays' (Source 4), suggesting the underpainting should avoid flat gray neutrality and instead hint at the underlying chromatic structure.
color palette
Grayed Yellows
Yellow mixed with complementary violet/blue tones
Streets, sidewalks, and light areas. Marquet favored these over bright Fauve yellows (Source 4).
Grayed Violets/Blues
Ultramarine/Violet mixed with complementary yellow/orange tones
Shadows, sky, and water reflections. Used to create 'less intense tones' (Source 4).
Black
Pure Black or very dark mixed tone
Violent contrast against light colors, specifically for bare tree trunks, architectural lines, or calligraphic figures (Source 4).
Red/Yellow Tones
Transparent glazes of Vermilion, Yellow Ochre, etc.
Applied via glazing and scumbling over the dry grisaille to reintroduce color warmth (Source 1).
composition
Marquet’s city views from this period (1907 onwards, but stylistically consistent with 1905) utilized an 'approximation of traditional perspective' (Source 4). The composition likely features a center of interest that prevents the work from becoming a mere pattern (Source 6). The horizon line should not bisect the image equally; instead, it should be positioned to emphasize either the sky or the ground, consistent with general composition principles (Source 6). The 'calligraphic' lines of the bridge and buildings cut the rectangular plane, creating a dynamic interplay between the structural forms and the atmospheric color (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition with precise, calligraphic lines. Focus on the structural elements of the Pont Saint-Michel and Notre Dame. Ensure lines are confident, as Marquet had 'fine control of the drawing' (Source 4).
Tip — Avoid hesitant lines; the drawing should define the 'violent contrast' areas like tree trunks or dark architectural features.
Calligraphic Line
underpainting
step 02
Create a grisaille underpainting. Mentally extract red and yellow hues, painting only the values that would remain if those colors were absent. Use black, ultramarine, and white with oil of copavia or linseed oil (Source 1).
Tip — Ensure the underpainting is quite dry before proceeding. This layer establishes the 'chiaro-scuro' and value gradation (Source 2).
Grisaille
first pass
step 03
Begin glazing and scumbling. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) using oil. Introduce yellow and red tones as they occur in nature, similar to tinting an engraving (Source 1).
Tip — Glazing adds transparency; scumbling over darker grounds can create a 'grey bloom' or coldness, which may be desirable for atmospheric effects (Source 1).
Glazing and Scumbling
refining
step 04
Refine the color harmony by mixing complementaries. Avoid pure, violent Fauve colors. Instead, create 'grayed yellows' and 'grayed violets' to achieve Marquet’s characteristic muted but colorful palette (Source 4).
Tip — Ensure tones remain 'always as colors and never as grays' (Source 4). Use black sparingly for high-contrast accents.
Complementary Mixing
finishing
step 05
Adjust the contrast between light and dark areas. Use the principle of simultaneous contrast to enhance the gradation of light where colors are juxtaposed (Source 2). Ensure the composition leads the viewer’s eye around the elements before exiting the picture (Source 6).
Tip — Check that no spaces between objects are identical, creating visual interest (Source 6).
Simultaneous Contrast
critical techniques
Glazing and Scumbling
Used to build up color layers over a dry monochrome underpainting. Glazing provides transparency, while scumbling allows the underlying painting to show through, creating complex tonal effects (Source 1).
Complementary Color Mixing
Marquet mixed complementaries to create 'less intense tones' that were still distinct colors, avoiding the 'violent' hues of other Fauves and the neutrality of grays (Source 4).
Calligraphic Line
Used for structural elements like tree trunks and figures, providing a 'violent contrast' to the lighter, atmospheric backgrounds (Source 4).
common pitfalls
- →Using pure, bright Fauve colors: Marquet specifically avoided 'bright and violent colors' in favor of muted, complementary mixes (Source 4).
- →Creating flat grays: Marquet’s tones were 'always as colors and never as grays' (Source 4). Avoid neutralizing colors too much.
- →Ignoring the underpainting: The source emphasizes the importance of the grisaille preparation and allowing it to dry completely before glazing (Source 1).
- →Bisecting the composition: Avoid dividing the picture space exactly in half; position the horizon to emphasize sky or ground (Source 6).
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 brushwork details: The sources do not describe Marquet’s specific brushstroke texture (e.g., impasto vs. smooth) for this particular 1905 work.
- ·Exact pigment formulation: While general colors are mentioned, the specific historical pigments used by Marquet in 1905 are not detailed.
- ·Scale and dimensions: The physical size of the painting is not provided, which affects the application of glazes and detail level.
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) and glazing/scumbling techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and value gradation
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 Artist’s style, palette (grayed tones, complementary mixing), and use of calligraphic line
Wikipedia: Composition (visual arts)↗
- Other techniques — applied to Compositional balance and horizon placement
Read more about the corpus on the sources page and how the guides are built on the methods page.
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