Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Pons, Charente-Maritime - Albert Marquet
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A quiet, observational townscape by Albert Marquet, capturing the light and architectural character of Pons in western France through fluid, rhythmic brushwork.
Albert Marquet, a contemporary of Henri Matisse, developed a distinct approach to painting that prioritised clarity and atmosphere over the aggressive colour theories of his early Fauvist period. In this depiction of Pons, a commune in the Charente-Maritime department of western France, Marquet employs a restrained palette and fluid brushwork to capture the quiet character of a provincial street. The composition is structured by the receding lines of the buildings, which draw the eye toward the centre of the frame.
Marquet often favoured elevated viewpoints or street-level perspectives that allowed him to observe the interplay of light on architectural surfaces. Here, the white-washed walls of the houses reflect the daylight, creating a sense of warmth that contrasts with the cooler shadows cast across the foreground. The human figures are rendered with minimal detail, functioning as small accents that provide scale to the urban environment. His technique involves visible, rhythmic strokes that suggest movement and the transient nature of the scene.
Unlike many of his peers who sought to distort form for emotional effect, Marquet maintained a disciplined observation of his surroundings. His work reflects a preference for order and balance, often resulting in compositions that feel both immediate and composed. This piece demonstrates his ability to distil a complex scene into its essential components, focusing on the relationship between light, shadow, and the geometry of the built environment. The lack of excessive detail allows the viewer to focus on the overall mood of the town, which is presented with a sense of detachment and calm. This approach to the townscape remains a hallmark of his later career, where he moved away from the radical experimentation of his youth toward a more measured, observational style of painting.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
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- Frames in black, natural wood, dark wood or white
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
Pons, Charente-Maritime - Albert Marquet
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Albert Marquet
The man who named the Fauves had reservations about one of them. Louis Vauxcelles, the critic whose offhand remark at the 1905 Salon d'Automne gave the movement its name, later wrote that Marquet "has nothing of the Fauve about him. He does not roar, he speaks and has always spoken in a precisely measured manner... He only entered the 'central cage' at the 1905 Salon d'Automne so as not to abandon his pals." It is an oddly affectionate dismissal, and closer to the truth than most accounts of Fauvism allow.
Marquet was born in Bordeaux on 27 March 1875, the son of a railway clerk. His mother moved the family to Paris to support his artistic education, and he enrolled at the Ecole des Arts Décoratifs in 1890, where he met Henri Matisse; the friendship lasted the rest of his life. The two painters shared studios and worked side by side for years, but their mature styles could scarcely be more different. Where Matisse reached for triumphant colour, Marquet worked with grey haze, snow light, and the tonal restraint of an elevated viewpoint over water.
His approach is visible in "The Beach at Fécamp" (1906, 51 x 61 cm, Musée National d'Art Moderne, Paris): the beach runs diagonally, figures and boats reduced to laconic dark brushstrokes, with only two sailors' blue collars and a red flag providing any colour accent. Similar economy governs the Paris quai paintings in the State Hermitage: "Rainy Day. Notre Dame de Paris" (1910, 81 x 66 cm) and "Louvre Embankment and the New Bridge" (1906, 60 x 73 cm), where cold grey mist substitutes for the chromatic intensity his contemporaries were deploying elsewhere.
He continued working until days before his death. Returning from an operation on 31 January 1947, he immediately picked up his brush to capture falling snow from his apartment window at 1 Rue Dauphine, Paris. He died there on 14 June 1947.
Marquet was born in Bordeaux on 27 March 1875, the son of a railway clerk. His mother moved the family to Paris to support his artistic education, and he enrolled at the Ecole des Arts Décoratifs in 1890, where he met Henri Matisse; the friendship lasted the rest of his life. The two painters shared studios and worked side by side for years, but their mature styles could scarcely be more different. Where Matisse reached for triumphant colour, Marquet worked with grey haze, snow light, and the tonal restraint of an elevated viewpoint over water.
His approach is visible in "The Beach at Fécamp" (1906, 51 x 61 cm, Musée National d'Art Moderne, Paris): the beach runs diagonally, figures and boats reduced to laconic dark brushstrokes, with only two sailors' blue collars and a red flag providing any colour accent. Similar economy governs the Paris quai paintings in the State Hermitage: "Rainy Day. Notre Dame de Paris" (1910, 81 x 66 cm) and "Louvre Embankment and the New Bridge" (1906, 60 x 73 cm), where cold grey mist substitutes for the chromatic intensity his contemporaries were deploying elsewhere.
He continued working until days before his death. Returning from an operation on 31 January 1947, he immediately picked up his brush to capture falling snow from his apartment window at 1 Rue Dauphine, Paris. He died there on 14 June 1947.
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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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