CHARLES CAMOIN | Le Port de Marseille

Galerie Lorenceau, Paris
Acquired from the above circa 1970

Aichi, Prefectural Museum of Art, Fauvism and Modern Japanese Painting, 1992-93, no. 6 
Sydney, Art Gallery of New South Wales & Melbourne, National Gallery of Victoria, Fauves, 1995, no. 10
Tel Aviv, Tel Aviv Museum of Art, Fauvism "Wild Beasts," 1996, no. 7
Lausanne, Fondation de l’Hermitage & Marseilles, Musée Cantini, Charles Camoin, Rétrospective 1879-1965, 1997-98, no. 24, illustrated in color in the catalogue
London, The Courtauld Institute of Art, Fauve Painting 1905-7: The Triumph of Pure Colour, 2001, no. 9, illustrated in color in the catalogue

The Courtauld Institute of Art, ed., The 20th Century at the Courtauld Institute Gallery, London, 2002, illustrated in color p. 37

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Camoin’s association with the Fauve artists stemmed from his close relationship with Henri Matisse, with whom he studied at Gustave Moreau’s studio in 1898. Under Moreau’s guidance in Paris, Camoin developed his own unique Impressionistic style, though it was the combined influence of Albert Marquet, Henri Manguin, Jean Puy and, of course, Matisse that pushed him to return to his native Marseille and paint the vivid seascapes he found along the Côte d’Azur (see fig. 1). Between 1904 and 1906 Camoin traveled with Manguin and Marquet along the southern coast of France. The trio would frequent local towns with magnificent landscapes such as Saint-Tropez, Antheor and Marseille. It is likely that Camoin played host to the group—highlighting hidden coves and majestic views only known to the local communities. Although more nuanced than those of his peers, Camoin’s pastel-dominated palate and chalky tones convey the carefully modulated aesthetic which was to dominate his oeuvre. Le Port de Marseille is taken from a series of four works that Camoin executed on this trip. The present work depicts the old fort of Marseille seen from the harbor. Depicted in muted tones of blue and white Camoin lifts the composition with red and yellow highlights scattered throughout.



Madame Grammont Camoin has kindly confirmed the authenticity of this work.