plate no. 1679

The Port of Marseliles

Albert Marquet, 1904

oilPost-Impressionismmarinaboatswaterbuildingsskyharborfigures

recreation guide

Albert Marquet’s *The Port of Marseilles* (1904) is a seminal work of Post-Impressionism that captures the marina genre through a lens of structural clarity and atmospheric color. Marquet, often associated with the Fauves for his bold use of color, approached this subject with a disciplined eye for the 'modifications of the light on the model' (Source 2). The painting is distinctive for its ability to harmonize inherent colors of the landscape—sky, water, and architecture—while employing the laws of simultaneous contrast to enhance tonal depth without relying on heavy modeling (Source 2, Source 4). The work reflects a transition in Marquet’s practice where he moved away from strict naturalism toward an expression of feeling through 'painted symbols' that remain true to nature but emphasize the vitality of the medium itself (Source 7). While specific visual details of the port’s layout are not described in the provided sources, the general technique involves a careful balance of broad masses and refined finish, avoiding the 'smallness' or over-modeling that can detract from the atmospheric effect (Source 3). The painting likely utilizes a method where the artist mentally extracts certain tones to establish a structural base before applying transparent and semi-opaque layers to achieve the final luminosity (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre)	Primary palette for establishing structure and color harmony, consistent with historical palettes and Reynolds' method cited in sources.	Artist-grade oil paints
Linseed oil	Medium for glazing and scumbling, ensuring 'fat over lean' application.	Refined linseed oil
Mineral spirits or turpentine	Thinner for initial layers and cleaning brushes; allows for faster drying of lean underlayers.	Odorless mineral spirits
Canvas or panel	Support surface.	Linen canvas primed with gesso
Charcoal or thinned paint	For initial sketching of the composition.	Vine charcoal or diluted oil paint
Palette knives and brushes	Application of paint; knives for scraping or broad application, brushes for detail.	Hog bristle and sable brushes

preparation

surface prep

The surface should be prepared with a standard gesso ground to accept oil paint. While the sources do not specify Marquet’s exact ground, traditional oil painting techniques involve a stable, slightly absorbent surface to ensure proper adhesion and drying (Source 6). The artist should ensure the ground is dry before beginning the underdrawing.

underdrawing

Begin by sketching the subject onto the canvas with charcoal or thinned paint (Source 6). Marquet’s approach likely involved capturing the broad masses and structural lines of the port and ships without getting tied down to rigid outlines, as advised for artists who tend to be 'too timid to depart from [outline]' (Source 3). The drawing should serve as a guide for the placement of light and dark tones rather than a strict boundary.

underpainting

Establish a monochrome underpainting (grisaille) using black, ultramarine, and white, mixed with oil of copavia or a similar medium (Source 1). This step involves 'mentally extracting the red and yellow colours' to focus on the structural values and light modifications (Source 1). This grisaille should be allowed to dry completely before proceeding to color layers. This technique aligns with the practice of old masters and helps in harmonizing the composition’s inherent colors (Source 1, Source 2).

color palette

Ultramarine

Pure ultramarine blue

Sky and water tones, providing a cool base for glazing.

White

White lead or titanium white

Highlights and mixing with ultramarine/black for the grisaille.

Black

Ivory black or lamp black

Shadows and structural definition in the grisaille.

Yellow Ochre

Natural ochre

General use in this artist's palette; earth tones for land and structures.

Red Ochre

Natural or burnt ochre

General use in this artist's palette; warm accents and glazes.

Yellow and Red Tones

Transparent yellows and reds (e.g., cadmium yellow, alizarin crimson)

Glazing and scumbling over the dry grisaille to introduce warmth and color harmony.

composition

The composition likely emphasizes the juxtaposition of light and dark tones to create a 'true gradation of light' (Source 4). Marquet characteristically avoids over-modeling, focusing instead on the 'modifications of tone and of colour which they receive from contiguous colours' (Source 2). The arrangement of elements in the port should be balanced to harmonize the inherent colors of the scene, such as the sky and water, while allowing for accidental effects that enhance the atmospheric quality (Source 4).

step by step

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

underdrawing

step 01
Sketch the main forms of the port, ships, and sky using charcoal or thinned paint. Focus on broad masses rather than fine details.
Tip — Avoid rigid outlines; keep the drawing loose to allow for color modifications.
Initial sketching

underpainting

step 02
Apply a grisaille using black, ultramarine, and white mixed with oil. Establish the light and dark values, mentally excluding red and yellow tones.
Tip — Ensure the grisaille is quite dry before proceeding. This layer sets the structural foundation.
Monochrome underpainting

first pass

step 03
Begin glazing and scumbling with oil. Apply yellow and red tones transparently over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Use a mix of varnish and oil for greater transparency and mastery. Watch for the 'grey bloom' effect when scumbling over darker grounds.
Glazing and scumbling

refining

step 04
Adjust colors based on simultaneous contrast. Observe how adjacent colors affect each other, modifying tones to harmonize the composition.
Tip — Be aware of mixed contrast; the eye may perceive colors inaccurately after prolonged viewing of one hue. Step back frequently to assess true color relationships.
Simultaneous contrast

finishing

step 05
Refine details and ensure the 'fat over lean' rule is followed. Each additional layer should contain more oil than the previous one to prevent cracking.
Tip — Avoid over-modeling; maintain the broad masses established in the underpainting. Use palette knives or rags to adjust texture if needed.
Layering

varnishing

step 06
Allow the painting to dry completely (up to two weeks) before applying a final varnish if desired.
Tip — Oil paint dries by oxidation, not evaporation. Ensure proper ventilation during drying.
Drying and varnishing

critical techniques

Glazing and Scumbling

Used to apply transparent and semi-opaque color layers over a dry monochrome underpainting. This method allows for the integration of red and yellow tones while preserving the structural values established in the grisaille.

Simultaneous Contrast

Applied to harmonize colors by considering how adjacent hues affect each other. This ensures that the modifications of light and color are accurately perceived and imitated.

Fat Over Lean

A basic rule of oil painting where each successive layer contains more oil than the previous one to ensure proper drying and prevent cracking.

common pitfalls

→Over-modeling details, which can detract from the atmospheric effect and broad masses (Source 3).
→Ignoring the drying time of the grisaille, leading to muddied colors when glazing (Source 1).
→Violating the 'fat over lean' rule, causing the paint film to crack and peel (Source 6).
→Failing to account for simultaneous contrast, resulting in inaccurate color perception and harmony (Source 2).
→Using too much solvent in upper layers, which can weaken the paint film (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 visual details of *The Port of Marseilles* (e.g., exact ship positions, architectural features) are not described in the sources, so the recreation relies on general compositional principles.
·Marquet’s specific pigment choices for this 1904 work are not detailed; the palette is inferred from general Post-Impressionist practices and the sources’ recommendations.
·The exact medium ratios (e.g., proportion of varnish to oil) are not specified, requiring the artist to experiment based on the 'sufficient mastery' mentioned in Source 1.

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
- ON COPYING — applied to Advice on avoiding over-modeling and focusing on broad masses
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast
- 6 — applied to Tonal gradation and juxtaposition
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using medium’s vitality