Description & Technical information

In March 1936, Marquet learns that he has been chosen by the Venice Biennale to be the principal exhibitor of the French section. He discovered the Serene and his original passing became a trip that lasted 4 months. The four windows of his bedroom made him discover Venice’s light, which obsessed him so much that he started to paint without paying attention to the monuments only to capture the light and reflection of the water. "As different as Marquet is from the Impressionists, this is what he has in common with them [...] the fact that he likes to invent variations on the same theme and show the same frameworks of shapes, the same media receiving a different
existence according to the time of the day or the season." as said Roger-Marx in 1939
Instead of representing Venice and its stones, Marquet puts the emphasis on its canals and shows the city as immaterial, light and moving, standing out from all his predecessors who had painted the city.
In the foreground, a vaporetto cuts through the turquoise water ; whereas the basilica San Giorgio Maggiore, the grand canal and the basilica Santa Maria della Salute appear discreetly in the background.
Even though Marquet's travels allowed him to renew his inspiration, his poet and colorist's sensitivity gives a singular unity to his mork. "Venise, le Vaporetto" was part of the exhibition of his Venician paintings in Galerie Druet in 1936.n March 1936, Marquet learns that he has been chosen by the Venice Biennale to be the principal exhibitor of the French section. He discovered the Serene and his original passing became a trip that lasted 4 months. The four windows of his bedroom made him discover Venice’s light, which obsessed him so much that he started to paint
without paying attention to the monuments only to capture the light and reflection of the water. "As different as Marquet is from the Impressionists, this is what he has in common with them [...] the fact that he likes to invent variations on the same theme and show the same frameworks of shapes, the same media receiving a different existence according to the time of the day or the season." as said Roger-Marx in 1939
Instead of representing Venice and its stones, Marquet puts the emphasis on its canals and shows the city as immaterial, light and moving, standing out from all his predecessors who had painted the city.
In the foreground, a vaporetto cuts through the turquoise water ; whereas the basilica San Giorgio Maggiore, the grand canal and the basilica Santa Maria della Salute appear discreetly in the background.
Even though Marquet's travels allowed him to renew his inspiration, his poet and colorist's sensitivity gives a singular unity to his mork. "Venise, le Vaporetto" was part of the exhibition of his Venician paintings in Galerie Druet in 1936.

Date:  1936
Period:  20th century
Origin:  France
Medium: Oil on canvas
Dimensions: 81.03 x 65.02 cm (31⁹/₁₀ x 25³/₅ inches)
Provenance: Moos Gallery, Geneva, n°5110. Label on the back.
Acquired from the above by the parents of the former owner.
Literature: Musée Rath, Genèee, Trésors des collections Romandes, Écoles étrangères, Exhibition catalogue, 1954, listed under the n°170, p.32.
Galerie des Granges, Geneva, Albert Marquet : Rétrospective, Exhibition catalogue, 1974, illustraded under the n°22.
Exhibitions: Trésors des collections Romandes, Écoles étrangères, Musée Rath, Geneva, June 26th - October 3rd, 1954, n°170. Label on the back.
Albert Marquet : Rétrospective, Galerie des Granges, Geneva, June 21st - August 31st, 1974, n°22.
Categories: Paintings, Drawings & Prints