Fine Art Poster
From £28
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.
Quai des Grands-Augustins - Albert Marquet
Regular price
£28.00 GBP
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£28.00 GBP
Regular price
Archival giclée
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Description
A view of the Quai des Grands-Augustins in Paris, captured in a muted, atmospheric style that emphasises the quiet rhythm of a rainy city day.
Albert Marquet, a contemporary of Henri Matisse, developed a distinct approach to urban observation that favoured atmospheric clarity over the aggressive colour palettes often associated with his peers. This work captures a view of the Quai des Grands-Augustins in Paris during a period of inclement weather. The composition is defined by a high vantage point, a perspective Marquet frequently employed to document the rhythmic movement of city life below.
The scene is dominated by a muted, tonal palette that conveys the dampness of a rainy day. Bare trees line the embankment, their dark, skeletal forms providing a vertical counterpoint to the horizontal sweep of the river and the street. The surface of the road reflects the grey sky, while the Seine itself is rendered in subtle, cool greens. Vehicles and pedestrians are reduced to simplified shapes, suggesting the transient nature of urban activity. Marquet avoids excessive detail, opting instead for a synthesis of form that prioritises the overall mood of the environment.
Unlike the more radical experiments of the early Fauve period, this painting demonstrates a mature restraint. The brushwork is controlled, applied with a precision that defines the structural elements of the Parisian architecture and the surrounding quays. The artist maintains a distance from his subject, acting as a detached observer of the city. This work provides a window into the quieter side of early twentieth-century Paris, where the interplay of light, water, and stone creates a sense of stillness amidst the urban environment. It is a study in observation, capturing the specific atmospheric conditions of the French capital with economy and technical skill.
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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
Quai des Grands-Augustins - Albert Marquet
Regular price
From £28.00 GBP
Sale price
From £28.00 GBP
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.
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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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