Circumspection and sobriety distinguish Albert Marquet from his fauvist colleagues and his friend Matisse. Unlike the latter, Marquet never felt the lure of exotic locations and subjects, let alone scorching colours. Instead he contented himself with a long series of unexceptional urban views, especially from the windows of his quayside studio in Paris. Of all the multifarious moods of this metropolis, he most savoured the quiet and grey. 'The Pont Neuf in the snow' is a perfect expression of Marquet's gift for painterly understatement. As for his inveterate interest in orderliness, that too is evidenced. Something of the silence, and everything of the chill composure, of a city in wintertime is apparent in this image. Seemingly executed with hardly a second thought or indecisive move, the image is realised in a single unity of tone that is reminiscent of Whistler. In contrast to many of his contemporaries, artists such as Marquet pursued a calmer, more reflective, vision of modernity.
AGNSW Handbook, 1999.
La Pont Neuf sous la neige
oil on canvas
78.2 x 64.7 cm stretcher; 102.5 x 86.5 x 5.7 cm frame
Signature & date
Signed l.l., blue oil "Marquet". Not dated.
Not on display
© Albert Marquet/ADAGP. Licensed by Viscopy, Sydney
Shown in 5 exhibitions
The Daily Telegraph exhibition of French and British modern art:
An exhibition of French art at the National Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 04 Oct 1944–31 Oct 1944
French art from Australian collections, Queensland Art Gallery, South Brisbane, Jun 1959–Jul 1959
Favourites: Margaret Olley and Barry Humphries choose from Australian collections (2000), S.H. Ervin Gallery, Sydney, 15 Jan 2000–27 Feb 2000
Favourites: Margaret Olley and Jeffrey Smart (2002), S.H. Ervin Gallery, Sydney, 12 Jan 2002–24 Feb 2002
David Jones' Art Gallery, Sydney, Sydney/New South Wales/Australia, Purchased by the AGNSW from David Jones Art Gallery 1939. Purchased from 'The Daily Telegraph Exhibition of French and British Modern Art'.
Referenced in 10 publications
Renée Free, AGNSW Collections, 'The Western Heritage, Renaissance to Twentieth Century', pg. 108-172, Sydney, 1994, 143 (colour illus.).
Barry Humphries, Favourites: Margaret Olley and Barry Humphries choose from public and private collections, 'Introduction', pg. 4-5, Sydney, 2000, 4 (colour illus.), 5. Catalogue entry appears in inserted list to printed catalogue: Selections by Barry Humphries
Bruce James, Art Gallery of New South Wales handbook, 'Western Collection: Paintings and Sculpture', pg. 17-77, Sydney, 1999, 59 (colour illus.).
National Art Gallery of New South Wales, National Art Gallery of New South Wales Annual Report 1939, Sydney, 1939, 10 (illus.).
Margaret Olley and Jeffrey Smart, Favourites: Margaret Olley and Jeffrey Smart selections, Sydney, 2002. No catalogue numbers; Jeffrey Smart selection.
Queensland Art Gallery, French art from Australian collections, Brisbane, 1959.
Ross Steele, Art and Australia, 'French Impressions', pg. 87-93, Sydney, Spring 1984, 92 (colour illus.), 93.
Jill Sykes (Editor), Look, 'Battle of the new: Picasso and peers versus the pillars of the Australian art establishment', pg. 14-18, Sydney, Mar 2005, 17 (colour illus.).
An exhibition of French art at the National Art Gallery of N.S.W, Sydney, 1944. cat. no. 143
Editor Unknown (Editor), The Daily Telegraph exhibition of French and British modern art, Sydney, 1939. cat.no. 77