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Jean-Yves Marrec. At the old Harbour of the Forest. Fouesnant. 
2014. Pastel. 36 x 26 cm. 

The Charming of seaside in Britain. 

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Jean-Yves Marrec.
23 rue du Capricorne - 29000 QUIMPER ( FRANCE )
Tel : 02 98 90 83 12 / 06 98 63 95 45

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Jean-Yves Marrec. At the old Harbour of the Forest. Fouesnant. 2014. Pastel. 36 x 26 cm. 
The Charming of seaside in Britain. 

Fouesnant is a small commune of Finistere close to Concarneau. Painter of the seaside, of the boats thus painter of marine and pastellist Jean Yves Marrec has a gallery in Quimper in France. The pastel is a small tender ore stick used to draw or write. The natural pencils are the black stone, the chalk and the blood one. When an artist uses them in the same drawing, one calls this one a drawing with the 3 pencils. The artificial pencils like the pastel, the coloured pencils or the litho are obtained starting from a metal or earthy substance mixed with wax, adhesive or gum arabic. Jean - Baptispe Chardin (1699 - 1779), Jean-François Millet (1814 - 1875), Odilon Redon (1840 - 1916) were greats pastellists. Halfway between the academism and impressionism the painter of marine borrows at the first the taste of the forms licked to seek astonishing light effects, where the density of environments is development by thickness of the paste and the matter. Starting from powerful naval forms, he seeks to privilege before all the immediate apprehension of the density coloured of a landscape, through a light which is refracted under the effect of the evaporation and which, precisely, is played of the forms.
The painting is a perfect example owing to the fact that cold colours used in clear tonality give very harmonious light effects and of a great delicacy. With time the word pastel became the synonym of an effect which expresses the fact that the colours are based the ones in the others with much of softness of meticulousness and precision. 

The horizon is high, in top from the point of view of the spectator located at the level of the 3 boats. The eye is first of all attracted by the group of the sailing ships moored on the line. Then he notices the boat on the same level of the left side and the end of the pier to the background.

The boats, the smack, the pier, a majority of the elements which constitute the painting find on the higher tension field. Before plan does not include well defined figurative form. This induces an effect of prospect and increases the depth of field of the image. 

The painting can be contemplated like 4 staged horizontal zones. In the foreground the beach, in the second plan the place where the boats are moored, close to the channel, with the background landscape then sky. 

While highlighting the principal guiding lines one realizes that work is built on the horizontal ones with the background and the downward diagonal in the foreground. The lines tend to balance but the channel goes down slightly.

Details : 

The multiple variations of colours in the landscape are represented with smoothness and precision. Very meticulous. 

The texture of the pastel and the multiple variations of the tonality of the colours express the atmosphere of the seaside perfectly. Moreover this isolated boat induced a romantic note. 
The harbours and moored boats release a particular atmosphere. A boat with ink waits to set out again. These picture evoke at the same time the notion of the travel and a feeling of peace which comes from the idea of rest. Qualities of draftsman and colourist of the artist reinforce this feeling of calm and serenity. 

Light : A tender light, very diluted, seems to become of in top. 

Colours : 

Harmonize between cold colours.
only 1 contrast between complementary.

Similar Painting : 

Jean-Yves Marrec. A Quiet Little place. 36 x 36 cm

Jean-Yves Marrec. With the Foot of the Closed City. 49 x 34 cm

Jean-Yves Marrec. Quiet Pont-l'Abbé. 46 x 26 cm