Description
MARQUET Albert (1875-1947) War Boats on the Basin, Venice, 1936 Oil on canvas, signed lower left Height : 64.7 ; Width : 80.6 cm Provenance: Galeria Müller, Buenos Aires Private collection, Monaco Private collection, Monaco Exhibition: La Méditerranée d'une rive à l'Autre, Marquet, June 28 - November 3, 2019, Musée Paul Valéry, Sète. Bibliography: M. Vallès-Bled, I. Goldberg, S. Krebs, Marquet. La Méditerranée d'une rive à l'Autre. Musée Paul- Valéry, Sète, Editions midi-pyrénéennes, 2019, n. 38, ill. p. 90 This work will be included in the critical catalog of Albert Marquet's work currently being prepared by the Institut Wildenstein. In 1936, Marquet spent the summer in Venice with his wife Marcelle Marquet and painted Bateaux de guerre sur le bassin. Marquet follows in the tradition of the great Old Masters such as Canaletto, Guardi, Turner and Monet. In describing Marquet's fascination with seaports, art critic François Daulte emphasizes his incomparable ability to reduce the landscape to its essential elements, separating horizontal from vertical lines, using them to represent perspective and convey dimension. He always considered the representation of space to be the principal element in the composition of a painting. "There is no doubt," wrote Raymond Cogniat in 1972, "that Marquet, like the Impressionists, sought to understand the visual subtleties of atmosphere and capture them on canvas. However, 'Instead of using the Impressionist technique of an infinite number of disparate brushstrokes that dissolve forms, Marquet employs broad strokes that preserve the unity and rhythm of the landscape. In his work, sky and water are not shimmering, but have a real aspect while remaining light and transparent; this space is endowed with an almost palpable existence... Throughout this post-Whistler modernist aesthetic, there is a spirit common to the great Impressionist masterpieces. As one critic wrote in 1912: "M. Marquet knows, with that ocular precision which characterizes him, how to condense the lesson of Impressionism and realize in a personal conception, a work deserving to hang beside Monet's cathedrals" (David F. Setford, "Albert Marquet: du fauvisme à L'impressionnisme" Du fauvisme à l'impressionnisme: Albert Marquet, an exhibition at the Centre Pompidou in Paris. LOT SOLD UNDER THE TEMPORARY IMPORTATION REGIME. A 5.5% FEE IS PAYABLE IN ADDITION TO THE NORMAL FEE.
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MARQUET Albert (1875-1947) War Boats on the Basin, Venice, 1936 Oil on canvas, signed lower left Height : 64.7 ; Width : 80.6 cm Provenance: Galeria Müller, Buenos Aires Private collection, Monaco Private collection, Monaco Exhibition: La Méditerranée d'une rive à l'Autre, Marquet, June 28 - November 3, 2019, Musée Paul Valéry, Sète. Bibliography: M. Vallès-Bled, I. Goldberg, S. Krebs, Marquet. La Méditerranée d'une rive à l'Autre. Musée Paul- Valéry, Sète, Editions midi-pyrénéennes, 2019, n. 38, ill. p. 90 This work will be included in the critical catalog of Albert Marquet's work currently being prepared by the Institut Wildenstein. In 1936, Marquet spent the summer in Venice with his wife Marcelle Marquet and painted Bateaux de guerre sur le bassin. Marquet follows in the tradition of the great Old Masters such as Canaletto, Guardi, Turner and Monet. In describing Marquet's fascination with seaports, art critic François Daulte emphasizes his incomparable ability to reduce the landscape to its essential elements, separating horizontal from vertical lines, using them to represent perspective and convey dimension. He always considered the representation of space to be the principal element in the composition of a painting. "There is no doubt," wrote Raymond Cogniat in 1972, "that Marquet, like the Impressionists, sought to understand the visual subtleties of atmosphere and capture them on canvas. However, 'Instead of using the Impressionist technique of an infinite number of disparate brushstrokes that dissolve forms, Marquet employs broad strokes that preserve the unity and rhythm of the landscape. In his work, sky and water are not shimmering, but have a real aspect while remaining light and transparent; this space is endowed with an almost palpable existence... Throughout this post-Whistler modernist aesthetic, there is a spirit common to the great Impressionist masterpieces. As one critic wrote in 1912: "M. Marquet knows, with that ocular precision which characterizes him, how to condense the lesson of Impressionism and realize in a personal conception, a work deserving to hang beside Monet's cathedrals" (David F. Setford, "Albert Marquet: du fauvisme à L'impressionnisme" Du fauvisme à l'impressionnisme: Albert Marquet, an exhibition at the Centre Pompidou in Paris. LOT SOLD UNDER THE TEMPORARY IMPORTATION REGIME. A 5.5% FEE IS PAYABLE IN ADDITION TO THE NORMAL FEE.
