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Lot Essay
The Wildenstein Institute will include this painting in their forthcoming Marquet catalogue raisonné.
In 1938 Albert Marquet spent two months with his wife Marcelle in Stockholm. The city with its vibrant harbor area and archipelagos provided him with a multitude of views to paint. According to his wife, "He found again a city made for him with water in all of its quarters and a variety of motifs" to offer him as subjects (quoted in Albert Marquet, exh., cat., Lausanne, 1988, p. 207).
Throughout Marquet's career he had been drawn to the waterways and industry of harbors, painting numerous views of European and Northern African ports such as Marseilles, La Rochelle, Paris, and Alger. These works were painted from an elevated vantage that he also employs in Le port de Stockholm. As Franois Daulte noted, "From the east to the west, from the north to the south, Marquet portrayed the little changes of light above the hulls of the boats, the subtle play of the sky and of the sea with incomparable self-assuredness he reduced the landscape to its essential elements (ibid., p. 25). His work was well received by the Swedes and Gösta Olson organized an exhibition of his latest works at the Svenska-Franska Konstgalleriet while he was there.
In 1938 Albert Marquet spent two months with his wife Marcelle in Stockholm. The city with its vibrant harbor area and archipelagos provided him with a multitude of views to paint. According to his wife, "He found again a city made for him with water in all of its quarters and a variety of motifs" to offer him as subjects (quoted in Albert Marquet, exh., cat., Lausanne, 1988, p. 207).
Throughout Marquet's career he had been drawn to the waterways and industry of harbors, painting numerous views of European and Northern African ports such as Marseilles, La Rochelle, Paris, and Alger. These works were painted from an elevated vantage that he also employs in Le port de Stockholm. As Franois Daulte noted, "From the east to the west, from the north to the south, Marquet portrayed the little changes of light above the hulls of the boats, the subtle play of the sky and of the sea with incomparable self-assuredness he reduced the landscape to its essential elements (ibid., p. 25). His work was well received by the Swedes and Gösta Olson organized an exhibition of his latest works at the Svenska-Franska Konstgalleriet while he was there.