plate no. 0387

The Port of Algiers with Haze

Albert Marquet, 1943

oilPost-Impressionismcityscapecityscapeshipsbuildingshazepalm treesport

recreation guide

Albert Marquet’s 'The Port of Algiers with Haze' (1943) is a cityscape that exemplifies his mature Post-Impressionist style, characterized by a restrained yet vibrant palette and an emphasis on atmospheric perspective. Marquet is renowned for his 'feeling for colour,' particularly the lightness, darkness, and saturation of tones, which allows him to render the hazy, luminous quality of the Algerian port without relying on heavy impasto or detailed realism (Source 7). The work likely employs the principles of simultaneous contrast, where colors are modified by their juxtaposition to create optical intensity and harmony, a technique Marquet utilized to capture the fleeting effects of light on the Mediterranean landscape (Source 2). The painting’s composition focuses on the interplay between the built environment and the atmospheric conditions, using color relationships to define form rather than strict linear perspective.

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, Black, Yellow Ochre, Red Ochre, Vermilion)	Primary pigments for the grisaille underpainting and subsequent glazing/scumbling layers.	—
Linseed oil or Oil of Copavia	Medium for the initial underpainting and glazing layers to ensure transparency and flow.	Stand oil or refined linseed oil
Varnish (optional)	Mixed with oil for later glazing stages to increase transparency and depth, as per historical practice.	Dammar varnish or modern painting medium
Canvas or linen support	Traditional support for oil painting.	—
Soft charcoal or graphite	For initial underdrawing and compositional layout.	—

preparation

surface prep

Prepare a standard oil-primed canvas. Marquet’s practice, consistent with the old masters referenced in the sources, likely involved a neutral or toned ground to facilitate the glazing process. The surface should be smooth enough to allow for thin, transparent layers but textured enough to hold the scumbled highlights. (Source 3)

underdrawing

Marquet’s preparatory methods are not explicitly detailed in the provided sources, but his style suggests a loose, gestural underdrawing that establishes the basic forms of the port, buildings, and horizon line without rigid definition. The drawing serves as a guide for the tonal structure rather than a detailed blueprint. (Hedged based on general Post-Impressionist practice)

underpainting

Create a monochrome grisaille underpainting using black, ultramarine, and white mixed with oil of copavia or linseed oil. This layer establishes the value structure of the composition, extracting the red and yellow tones to focus on light and shadow. This technique, attributed to Sir Joshua Reynolds and practiced by old masters, allows for a solid foundation for subsequent color glazing. (Source 3)

color palette

Ultramarine

Pure Ultramarine

Underpainting and glazing for shadows and atmospheric haze, particularly in the sky and water.

White

Lead White or Titanium White

Highlights and mixing with ultramarine for the grisaille underpainting.

Black

Ivory Black or Lamp Black

Deep shadows and defining forms in the underpainting.

Yellow Ochre

Glazing and scumbling for warm tones in the buildings and sunlight.

Red Ochre/Vermilion

Red Ochre or Vermilion

Glazing for warm accents and complementary contrast against blue tones.

composition

The composition likely emphasizes the horizontal bands of the port, sky, and water, using color contrast to create depth. Marquet characteristically uses the law of simultaneous contrast to harmonize the inherent colors of the scene, such as the blue of the sky and sea against the warm tones of the buildings. The haze is rendered through the modification of color tones, where lighter tones are lowered and darker tones are heightened by their juxtaposition. (Source 2, Source 8)

step by step

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

underdrawing

step 01
Lightly sketch the main compositional elements: the horizon line, the port structures, and the general placement of boats or masts. Keep lines loose and gestural.
Tip — Focus on the overall balance and rhythm of the composition rather than precise details.
Gestural underdrawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia or linseed oil. Paint a monochrome grisaille layer, establishing the light and shadow values of the scene. Extract red and yellow tones to focus on the structural light.
Tip — Ensure the grisaille is completely dry before proceeding to avoid muddying the subsequent glazes.
Grisaille underpainting

first pass

step 03
Apply transparent glazes of yellow and red tones over the dry grisaille. Use a thin mixture of oil and pigment to tint the engraving-like underpainting, allowing the underlying values to show through.
Tip — Work in thin layers to maintain transparency and depth. Avoid overworking the paint.
Glazing

refining

step 04
Use scumbling techniques to add semi-opaque highlights and atmospheric haze. Scumble lighter tones over darker areas to create a grey bloom or softening effect, particularly in the hazy sky and distant structures.
Tip — Scumbling tends to coldness when employed over a darker ground, which can be used to enhance the atmospheric haze.
Scumbling

finishing

step 05
Adjust color relationships using the law of simultaneous contrast. Place complementary colors adjacent to each other to enhance their intensity, such as blue tones next to orange or red tones. Soften overly pronounced colors by surrounding them with more intense tones of the same hue.
Tip — Observe how the eye perceives color modifications due to juxtaposition, and adjust accordingly to achieve harmony.
Simultaneous contrast

varnishing

step 06
Once the painting is completely dry, apply a final varnish to protect the surface and enhance the depth of the glazes.
Tip — Ensure the painting is fully cured to avoid trapping solvents.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build up luminosity and depth. This technique allows for the modification of color aspect without changing the pigment itself, as described in the sources.

Scumbling

Using semi-opaque paint over a darker ground to create a softening effect or grey bloom, particularly useful for rendering atmospheric haze and distant forms.

Simultaneous Contrast

Juxtaposing complementary colors to enhance their intensity and harmony. This principle is crucial for Marquet’s ability to render the vibrant yet hazy light of the Algerian port.

common pitfalls

→Overworking the glazes, which can lead to a muddy appearance rather than the desired transparency.
→Failing to allow the grisaille underpainting to dry completely, which can cause the subsequent layers to mix and lose their distinctness.
→Ignoring the law of simultaneous contrast, resulting in flat or disharmonious color relationships.
→Using too much medium in the glazes, which can lead to cracking or poor adhesion.

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 Marquet’s brushwork and stroke direction in this particular painting are not described in the sources.
·The exact proportions and mixing ratios of the pigments used by Marquet are not provided.
·The specific atmospheric conditions and time of day depicted in 'The Port of Algiers with Haze' are not detailed in the sources.

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 and glazing techniques
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Color modification through juxtaposition
Laws of Contrast of Colour↗
- 315. As to the advantages the painter will find in it — applied to Simultaneous contrast and color harmony