Barques dans le port, 1924

by Jacques Martin-Ferrières

Jacques Martin-Ferrières painted mostly still life’s and landscape scenes, often travelling to a variety of places and painting everywhere he went. This tranquil painting depicts a peaceful scene of boats docked in a harbour, basked in golden light. Light and warm colours fill the background of the painting, as the golden light playfully bounces off the cool tones of the water. The quick brushstrokes, paired with the romantic scene evoke a sense of romanticism and imbue the feeling of a warm summer’s day in the south of France.

DIMENSIONS: (unframed)50.0 x 64.7 cm / 19.7 x 25.5 ins
SIGNATURE: Signed and dated lower left
MEDIUM: Oil on canvas

Catalogue No: 5984 Categories: ,

Jacques Martin-Ferrières often travelled to Italy, especially his beloved Venice, producing some of his finest works.  His palette developed throughout the 1930’s, as he continually visited Venice and other locations, as his paintings became more energised and he refined his impasto technique of painting.


Estate of Henri Jo Barthe, United States


The authenticity of this work has kindly been confirmed by Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonné (no. P 23)

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Jacques Martin-Ferrières was born in 1893 in Saint-Paul de Vence in South Eastern France into a family of artists, including his father Henri Martin, the famous pointillist. He began his formal training at the École des Beaux-Arts in Paris, studying under Frederic Cormon and Ernest Laurent, but soon branched out from the academic conventions and restraints of the day.

Martin-Ferrières mostly painted still lifes and landscape scenes, especially enjoying paintings Winter landscapes from the 1950’s onwards. He exhibited regularly in Paris at the Salon des Artistes Français and was able to submit work without vetting. There he received an honourable mention in 1920, a silver medal in 1923, and a travel scholarship in 1924. In 1925, he received the national prize before finally being awarded a gold medal in 1928. He was also awarded The Legay-Lebrun prize (Prix de L’Institut). In 1965 he exhibited in Paris in an exhibition of Venetian landscapes and snow landscapes.

Despite his fathers strong influence in learning the pointillist technique, he became known for his use of thick impasto, applying the paint in layers which created a surface of great vitality and a wonderful basis for his experimentation with the effects of light.


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