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.
The Louvre Embankment - Albert Marquet
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
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Description
A view of the Seine river and the cityscape beyond, likely near sunset, Albert Marquet's "The Louvre Embankment" captures the mood of early 20th-century Paris with loose brushwork and a subdued colour palette.
Albert Marquet's "The Louvre Embankment" presents a view of Paris rendered in a style that balances Impressionistic observation with Fauvist colour. Marquet, a contemporary of Henri Matisse, often depicted scenes of daily life with a focus on light and atmosphere. This painting captures the Seine river and the cityscape beyond, likely near sunset. The composition is divided into horizontal bands, with the embankment in the foreground leading the eye towards the distant skyline. The bare trees punctuate the scene, their branches silhouetted against the sky. The colour palette is subdued, dominated by greys, blues, and yellows, yet there are touches of brighter hues that suggest the influence of Fauvism. The brushwork is loose and expressive, creating a sense of movement and immediacy. The painting offers a glimpse into the urban environment of early 20th-century Paris, capturing the mood of a specific time and place. Marquet's ability to convey atmosphere through colour and brushstroke is evident in this work, making it a fine example of his contribution to modern 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.
Complete The Look
The Louvre Embankment - 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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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)
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Fine Art Framed
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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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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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