Baigneuse allongée, c.1912
Signed with initials
Chinese ink on paper
8 1/4 x 13 3/8 in, 21 x 34 cm
Albert Marquet was a pioneering Fauve artist that studied at the Atelier Moreau and exhibited beside Matisse, Rouault and Camoin at the scandalous Salon d’Automne in 1905. Throughout his life...
Albert Marquet was a pioneering Fauve artist that studied at the Atelier Moreau and exhibited beside Matisse, Rouault and Camoin at the scandalous Salon d’Automne in 1905. Throughout his life Marquet remained loyal to this radical group of artists, forging a particularly close friendship with Matisse. Marquet became one of the driving forces of the Post-Impressionist movement, developing his own unique sense of evocative line, brilliant light and nuanced colour. Marquet became known in his later career for his radiant images of the waterways and ports that he discovered during his extensive travels.
Marquet often turned to the female nude during the early period of his career. In 1909 he established himself in Matisse’s vacant studio on the 5th floor of 9 Quai Saint Michel in Paris from where he embarked on a pivotal series of nudes. ‘Baigneuse allongée’ relates particularly to this group of works painted between 1911 and 1913. ‘Nu au divan’ (1912), his masterpiece from this period, is now in the collection of the Centre Pompidou, Paris. These highly erotic paintings relished the lithe contours of the female figure within a heady context of vibrant colour and pattern, revealing the impact of Marquet’s travels to Tangiers in 1911 as well as his growing confidence as an artist.
In the present related study Marquet retains a unique simplicity and realism in his depiction of the sensual body; likely the artist’s lover and favourite model Yvonne. Through this bold use of animated line Marquet demonstrates his skill as a draughtsman as he carves the features of the body, giving weight and volume to the flesh with gentle hatching used to define the twists and curves of the female figure.
Piasa, Paris, Tableaux et sculptures des XIXe et XXe Siècles, 14 December 2001, lot 167