French Fauvism: Albert Marquet (part I)

Albert Marquet (1875 – 1947) was a French painter, associated with the Fauvist movement.

The Apse of Notre Dame (1901)

Rue de village (c. 1901)

oil on canvas 33.5 x 46.2 cm

 The Louvre Embankment, 1905

House at Saint-Tropez, 1905

Paris Pont Sur La Seine, 1905-06

View of the Seine and the Monument to Henri IV, circa 1906

Poissy, by the Seine, circa 1908

The Bay of Naples at Sunset, circa 1908

Vesuvius  - circa 1909

Flood in Paris, circa 1910

Le Havre, 1911

Vue de Collioure, 1912

The Marne at the Park Saint-Maur, 1913

La femme blonde, 1919

Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France

L’Ile aux cygnes, 1919

Crans-sur-Sierre, 1936

Tree, 1938

Le port de l’Agha, Alger, circa 1941

Street Scene

Notre-Dame, Inondations

Le port de Marseille, France

River Scene

The port of Marseille

Les Sables d’Olonne

Albert Marquet (27 March 1875 – 14 June 1947) was a French painter, associated with the Fauvist movement. He initially became one of the Fauve painters and a lifelong friend of Henri Matisse. Marquet subsequently painted in a more naturalistic style, primarily landscapes, but also several portraits and, between 1910 and 1914, several female nude paintings.

source: wikipedia

If you like Marquet's style, you can see also part II, on this blog

From Fauve to Cubism: Geoges Braque

L'Estaque, 1906

Centre Goerges Pompidou, Paris

Antwerp, 1906, fauve style

The Gulf, Les Lecques 1906

Houses at L’Estaque, 1908

Viaduct at L'Estaque, 1908

Head of a Woman 1909

Bottle and Fishes, 1910

Portuguese, 1911, cubism

Woman with a Guitar, 1913, cubism

"I couldn’t portray a women in all her natural loveliness… …I haven’t the skill. No one has. I must, therefore, create a new sort of beauty, the beauty that appears to me in terms of volume of line, of mass, of weight, and through that beauty interpret my subjective impression. Nature is mere a pretext for decorative composition, plus sentiment. It suggests emotion, and I translate that emotion into art. I want to express the absolute.." 

Georges Braque, 1908

Cubism, one of the most influential visual art styles of the early twentieth century, was created by Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The French art critic Louis Vauxcelles coined the term Cubism after seeing the landscapes Braque had painted in 1908 at L’Estaque in emulation of Cézanne. Vauxcelles called the geometric forms in the highly abstracted works "cubes".

Pablo Picasso and Georges Braque
In 1909, Braque began to work closely with Picasso, who had been developing a similar approach to oil painting. At the time Pablo Picasso was influenced by Gauguin, Cézanne, African tribal masks and Iberian sculpture, while Braque was mostly interested in developing Cézanne’s idea’s of multiple perspectives. “A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way.” The invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. These artists were the movement’s main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, began working on the development of Cubism in 1908. Both artists produced paintings of monochromatic color and complex patterns of faceted form, now called Analytic Cubism.

French Impressionism: Camille Pissarro

Camille Pissarro (1830-1903)

“Blessed are they who see beautiful things in humble places where other people see nothing”

The Route to Versailles, Louveciennes (1869)

In 1869, Pissarro moved to No. 22 on the road to Versailles in the Paris suburb of Louvciennes. He was joined by Claude Monet who was then at nearby Saint Michel. In the winter of 1869/70, they both painted snow scenes showing this roadway from varying angles. The road to Versailles, on the north side of the village, afforded a superb view of Paris in the distance. The impressionists inherited from the Barbizon artists of a generation earlier an interest in the representation of winter, particularly, the challenge of the rendering of snow. Pissarro’s early works are relatively rare because the German troops who had been billeted in his house on the road to Versailles during the Franco-Prussian War had wrecked many of them.

 La Maison De Piette À Montfoucault (1874)

De grosse Birnbaum in Montfoucault (1876)

Cultivated Land in Winter, a Man Carrying Fagots, 1877

Resting in the Woods at Pontoise, 1878

Near Rouen, 1883

Road at Eragny, Winter (1885)

Field of Oats in Eragny (1885)

View of the Village of Bazincourt - 1889

Setting Sun and Fog Eragny, 1891

Poplars, Morning, Eragny - 1893

The Meadows at Eragny, Apple Tree, 1894

Tête de jeune fille de profil dite «la Rosa» (1896) 

oil on canvas 55.2 x 46.3 cm

The Boulevard Montmarte At Night, 1897

After spending six years painting in the rural setting of Éragny, Pissarro returned to Paris, where he produced several series of the “grands boulevards.” As Pissarro surveyed the view from his lodgings at the Grand Hôtel de Russie in early 1897, he marveled that not only could he “see down the whole length of the boulevards” but he had “almost a bird’s-eye view of carriages, omnibuses, people, between big trees, big houses that have to be set straight.” From February through April, he set out to record—in two views of the boulevard des Italiens to the right, and fourteen of the boulevard Montmartre to the left—the spectacle of urban life as it unfolded below his window.

Vue de Bazincourt en hiver, 1898

Avenue de l’Opera, Effect of Snow (1898)

Le Jardin Des Tuileries, Effet De Neige (1900)

Brouillard à l’Hermitage, Pontoise (1879)

Hyde Park, London (1890)

La Maison De Piette À Montfoucault (1874)

Landscape at Éragny (1890)

The painting Landscape at Éragny by Camille Pissarro was created in 1890. This artwork beautifully captures the rural charm of Éragny-sur-Epte, where Pissarro lived and worked during the later years of his life. His Impressionist style shines through in the delicate interplay of light and color

Self-Portrait, 1903

Camille Pissarro (1830–1903) was a Danish-French painter and a pivotal figure in the Impressionist and Post-Impressionist movements. Born on the island of St. Thomas in the Danish West Indies, Pissarro moved to Paris in 1855 to pursue his passion for art. He was deeply influenced by the works of Gustave Courbet and Jean-Baptiste-Camille Corot.

Pissarro is celebrated for his landscapes, urban scenes, and rural depictions, often capturing the effects of light and atmosphere with remarkable sensitivity. He was the only artist to exhibit in all eight Impressionist group exhibitions, showcasing his dedication to the movement. Later in his career, he experimented with Neo-Impressionism and pointillism, inspired by Georges Seurat.

Known as the "Father of Impressionism," Pissarro was a mentor to artists like Paul Cézanne and Paul Gauguin. His works remain iconic, reflecting his innovative approach to capturing the beauty of everyday life.