plate no. 3685

View of Agay

Albert Marquet, 1905

oilPost-Impressionismlandscapetreeswaterlandscapehillsvegetationsky

recreation guide

Albert Marquet’s 'View of Agay' (1905) is a landscape executed in oil, situated within the Post-Impressionist and early Fauvist movements. While the specific visual details of Agay’s coastline are not described in the provided sources, Marquet’s practice during this period is characterized by a focus on the structural integrity of the landscape rather than mere optical impressionism. The artwork likely employs a restrained yet vibrant palette, utilizing the laws of simultaneous contrast to harmonize colors inherent to the natural objects depicted (Source 2). Marquet’s approach aligns with the broader Post-Impressionist shift where landscape painting became a primary source of stylistic innovation, moving beyond topographical accuracy to express the artist’s emotional response to nature through painted symbols (Source 4, Source 8).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White Lead/Titanium White, Earth tones/Ochres)	Primary medium for underpainting and glazing	Titanium White is the modern standard for White Lead; Ultramarine and Ochres remain chemically similar.
Oil of Copavia (or modern stand oil/linseed oil)	Medium for the first and second paintings, as cited in Reynolds’ method which influenced traditional oil practice	Stand oil or Galkyd for improved drying and clarity.
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Damar varnish or synthetic resin varnish.
Canvas or Panel	Support for the oil painting	Primed linen or cotton canvas.

preparation

surface prep

The surface should be prepared to accept oil paint without absorbing too much medium. While Marquet’s specific ground preparation is not detailed in the sources, the general practice of the period and the cited methods suggest a neutral or toned ground is beneficial. The sources emphasize that the material’s vital qualities must be respected; the ground should not be so white as to force the artist into a 'meretricious attempt to deceive the eye' but should allow for the expression of feeling through painted symbols (Source 8).

underdrawing

Marquet’s preparatory methods are not explicitly described in the provided sources. However, consistent with Post-Impressionist practices, the underdrawing was likely loose and structural, serving as a guide for the broad masses of color rather than a rigid outline. The sources advise against being 'too much tied down to your outline' (Source 6), suggesting a fluid approach to initial marks.

underpainting

The sources suggest a method involving a monochrome underpainting, specifically a grisaille. This technique involves mentally extracting red and yellow colors to establish the tonal structure before applying color (Source 1). This aligns with the traditional method cited by Sir Joshua Reynolds, using black, ultramarine, and white for the first and second paintings (Source 1). This underpainting serves as the foundation for subsequent glazing and scumbling.

color palette

Ultramarine

Pure Ultramarine

Underpainting and establishing cool tones, consistent with Reynolds’ method and the need to perceive modifications of light (Source 1, Source 2).

White

White Lead or Titanium White

Highlighting and mixing with ultramarine for the grisaille underpainting (Source 1).

Black

Ivory Black or Lamp Black

Establishing dark values in the underpainting (Source 1).

Yellow Ochre

Natural Ochre

General use in the palette; earths and ochres are noted as sufficient for broken tones and have perfect fixedness (Source 3).

Red Ochre/Vermilion

Red Ochre or Cinnabar

Glazing and scumbling to introduce warm tones after the grisaille is dry (Source 1, Source 3).

composition

The specific compositional layout of 'View of Agay' is not described in the sources. However, Marquet’s landscapes generally adhere to the principles of organizing visual elements such as line, shape, and color to create a coherent composition (Source 7). The artist likely arranged the elements of the landscape—sky, sea, and land—to harmonize colors inherent to the objects, using simultaneous contrast to enhance the perception of light and tone (Source 2). The composition would avoid 'smallness' and focus on broad masses, consistent with the advice to check tendencies toward over-modeling (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic structure of the landscape loosely, focusing on broad masses rather than detailed outlines.
Tip — Avoid being tied down to the outline; use the drawing as a guide for color placement.
Loose structural drawing

underpainting

step 02
Create a grisaille underpainting using black, ultramarine, and white. Mentally extract red and yellow colors to establish the tonal values.
Tip — Ensure the grisaille is quite dry before proceeding to glazing.
Grisaille

first pass

step 03
Apply the first layer of color using oil of copavia (or modern equivalent) as a medium. Focus on the inherent colors of the objects.
Tip — Use earths and ochres for broken tones, as they cover well and dry easily.
Direct painting with medium

refining

step 04
Glaze and scumble with yellow and red tones. Use transparent coats of color (glazing) and semi-opaque painting (scumbling) to modify the underlying grisaille.
Tip — Observe the law of simultaneous contrast; ensure that contiguous colors harmonize and that the lightest tones are not lowered unnecessarily.
Glazing and Scumbling

finishing

step 05
Adjust the colors to reflect the modifications of light on the model. Use varnish and oil mixed for final glazes if mastery is achieved.
Tip — Be aware of mixed contrast; the eye may see colors inaccurately after prolonged viewing of one hue.
Final Glazing

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting to modify tone and color. Used to introduce red and yellow tones after the grisaille.

Scumbling

Semi-opaque painting through which the underlying painting makes itself felt. Used to create a grey bloom or coldness over darker grounds.

Simultaneous Contrast

Understanding that colors appear different when viewed next to their complements. Used to harmonize colors and perceive modifications of light accurately.

common pitfalls

→Over-modeling or being too tied down to the outline, which can lead to a lack of vitality in the painting (Source 6).
→Ignoring the law of simultaneous contrast, leading to inaccurate color perception and disharmony (Source 2).
→Attempting to deceive the eye with illusionistic detail rather than expressing feeling through painted symbols (Source 8).
→Using colors that are not substantial or that may produce chemical reactions, though earths and ochres are recommended for their fixedness (Source 3).

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 'View of Agay' such as the exact arrangement of buildings, trees, or coastline features are not described in the sources.
·Marquet’s specific brushwork style (e.g., stroke direction, thickness) is not detailed in the provided passages.
·The exact proportions and perspective of the landscape are not provided.
·The specific lighting conditions (time of day, weather) depicted in the painting are not described.

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), glazing, and scumbling 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, simultaneous contrast, and mixed contrast.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Palette selection, use of earths and ochres.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using materials to express feeling rather than deceive the eye.