plate no. 7902
The Port of Saint-Tropez
Albert Marquet, 1905
recreation guide
Albert Marquet’s *The Port of Saint-Tropez* (1905) is a key work from his early Fauvist period, exhibited at the Salon d'Automne alongside Henri Matisse. While associated with the 'wild beasts' for their intense coloration, Marquet’s approach was distinctively more restrained; he favored 'less bright and violent colors' than his peers, emphasizing 'less intense tones made by mixing complementaries' rather than using pure grays (Source 7). The work reflects his training under Gustave Moreau and his collaboration with Matisse, characterized by a 'fine control of the drawing' and a response to light that intensifies strong tones while rendering weaker ones in coloristic terms (Source 7). Unlike the pure Fauves, Marquet’s palette in this era often featured 'grayed yellows, greyed violets or blues,' using black primarily as a 'violent contrast' to light areas, such as tree trunks or calligraphic figures, though in a marina scene, this contrast likely applies to dark structural elements against the sky and water (Source 7).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Earth tones, Ochres, Umbers) | Marquet favored earths and mixed complementaries over pure brights; Source 1 notes the utility of 'earths, ochres and marls' for broken tones and fixedness. | Burnt Umber, Yellow Ochre, Raw Sienna |
| Oil paints (Blues and Violets) | For the sky and water; Marquet characteristically used 'greyed violets or blues' (Source 7). | Ultramarine Blue, Cobalt Violet, mixed with white or complements |
| Oil paints (Yellows) | For light reflections; Marquet used 'grayed yellows' (Source 7). | Cadmium Yellow Light, mixed with white or violet |
| Black pigment | Used by Marquet as a 'violent contrast' to light colors for forms like tree trunks or calligraphic lines (Source 7). | Ivory Black or Mars Black |
| Linseed Oil | Standard drying oil for oil painting; Source 8 identifies it as the 'most general purpose oil'. | Refined Linseed Oil |
| Canvas or Panel | Support for the oil medium. | Linen canvas primed with gesso |
preparation
surface prep
Prepare a neutral ground. While specific preparation for this 1905 work is not detailed in the sources, Marquet’s emphasis on 'fine control of the drawing' (Source 7) suggests a smooth surface that allows for precise linear definition. Source 1 advocates for the use of 'earths, ochres and marls' which 'dry easily' and have 'perfect fixedness,' suggesting a stable ground is beneficial for the layered application of these tones.
underdrawing
Marquet is noted for his 'fine control of the drawing' and 'calligraphically drawn' elements (Source 7). The underdrawing should likely be precise, establishing the 'rectangle' and cutting its plane with line, as his compositions 'constantly referred to the rectangle and cut its plane with their calligraphy' (Source 7). Contour drawing principles, which emphasize mass and volume through outline, may be relevant here (Source 5).
underpainting
Consider a grisaille or monochrome underpainting. Source 2 describes a method where a 'grisaille is quite dry' before glazing and scumbling. This aligns with the 'old masters' technique mentioned in Source 2, which Marquet, trained in the academic tradition under Moreau, might have respected. The underpainting would establish the tonal values, allowing the subsequent color layers to focus on the 'modifications of the light' (Source 3).
color palette
Grayed Violet
Ultramarine Blue + White + touch of Red/Orange complement
Sky and shadowed water areas; Marquet favored 'greyed violets' (Source 7).
Grayed Yellow
Yellow Ochre + White + touch of Violet complement
Highlights on water and sky; Marquet favored 'grayed yellows' (Source 7).
Mixed Complementaries
Red + Green, or Blue + Orange, mixed to desaturate
General tones; Marquet emphasized 'less intense tones made by mixing complementaries, thus always as colors and never as grays' (Source 7).
Black
Ivory Black
Violent contrast for dark forms; Marquet used black for 'bare tree trunks or calligraphically drawn people' (Source 7). In a port scene, this may apply to masts, rigging, or dark hulls.
Earth Tones
Burnt Umber, Raw Sienna
Broken tones; Source 1 recommends 'earths, ochres and marls' for their fixedness and covering qualities.
composition
Marquet’s compositions 'constantly referred to the rectangle and cut its plane with their calligraphy' (Source 7). He used an 'approximation of traditional perspective' (Source 7). The composition likely balances the horizontal lines of the water and sky with the vertical or diagonal lines of masts and rigging, creating a structured yet fluid space. The 'calligraphic' quality suggests that lines are not just outlines but expressive elements that define form and space (Source 5).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition with light, calligraphic lines, focusing on the 'rectangle' of the canvas and the placement of masts, boats, and horizon. Emphasize the 'mass and volume' through contour (Source 5).
Tip — Ensure lines are expressive and define the plane of the canvas (Source 7).
Contour Drawing
underpainting
step 02
Apply a monochrome underpainting (grisaille) to establish values. This allows for the 'mental extraction' of color to focus on light and shadow (Source 2).
Tip — Let it dry completely before proceeding (Source 2).
Grisaille
first pass
step 03
Apply the first layer of color using 'grayed yellows, greyed violets or blues' (Source 7). Mix complementaries to achieve 'less intense tones' rather than pure grays (Source 7).
Tip — Avoid 'bright and violent colors' typical of other Fauves; aim for subtlety (Source 7).
Color Mixing
refining
step 04
Use black sparingly for 'violent contrast' against light areas, such as dark masts or rigging against the sky (Source 7). Apply 'earths, ochres and marls' for broken tones in the water or distant land (Source 1).
Tip — Observe 'simultaneous contrast' where adjacent colors affect each other’s appearance (Source 3).
Contrast
finishing
step 05
Glaze and scumble to refine tones. Glazing adds transparent color, while scumbling adds semi-opaque layers that allow the underpainting to show through (Source 2).
Tip — Use oil or varnish mixtures for glazing; be mindful of drying times (Source 2, Source 8).
Glazing and Scumbling
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface. Ensure all layers are dry to prevent chemical reactions (Source 1).
Tip — Check for 'chemical reaction' risks if using incompatible pigments (Source 1).
Varnishing
critical techniques
Mixing Complementaries
Marquet used this to create 'less intense tones' that remained colorful rather than gray (Source 7).
Calligraphic Line
Used to 'cut the plane' of the rectangle and define forms with 'fine control' (Source 7).
Simultaneous Contrast
Understanding how adjacent colors modify each other’s appearance to harmonize the composition (Source 3).
Glazing and Scumbling
Layering transparent and semi-opaque colors over a dry underpainting to achieve depth and tone (Source 2).
common pitfalls
- →Using 'bright and violent colors' typical of other Fauves, which Marquet avoided (Source 7).
- →Creating pure grays instead of 'colors' made by mixing complementaries (Source 7).
- →Ignoring the 'calligraphic' quality of the line, which is central to Marquet’s composition (Source 7).
- →Applying wet layers over wet layers without considering drying times, risking 'chemical reaction' (Source 1).
- →Over-modeling details; Marquet’s style emphasizes 'broad masses' and 'calligraphic' simplification (Source 7, 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 pigment brands or exact ratios used by Marquet in 1905 are not provided.
- ·The exact composition of *The Port of Saint-Tropez* (e.g., number of boats, specific horizon line) is not described in the sources, so the artist must rely on visual reference of the actual painting.
- ·Marquet’s specific medium recipes (e.g., ratio of oil to pigment) are not detailed.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earths and ochres, and warnings about chemical reactions (Source 1).
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting, glazing, and scumbling techniques (Source 2).
Laws of Contrast of Colour↗
- 315. As to the advantages... — applied to Principles of simultaneous contrast and color harmony (Source 3).
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 preferences, and compositional habits (Source 7).
Wikipedia: Contour drawing↗
- Contour drawing — applied to Technique of using line to define mass and volume (Source 5).
Wikipedia: Oil painting↗
- Oil painting — applied to General properties of oil paints and drying oils (Source 8).
Read more about the corpus on the sources page and how the guides are built on the methods page.
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