Paris, La Seine, 1920

by Jacques Martin-Ferrières

P.O.A.

DIMENSIONS: (unframed) 18.0 x 26.0 in./45.7 x 66.0 cm
SIGNATURE: Signed and dated lower left
MEDIUM: Oil on canvas

Jacques Martin-Ferrières often travelled to Italy, especially his beloved Venice, producing some of his finest works. This beautiful painting demonstrates a superb sensitivity of colour with the bright reflections and effects of light. 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.

Catalogue No: 5588 Categories: ,

Jacques Martin-Ferrières painted mostly still lifes and landscape scenes, often travelling to a variety of places and painting everywhere he went. Some of his finest works are produced in Italy, especially his beloved Venice, as he took inspiration from the vibrant colours and reflections.

During the years, 1925-1928 Martin-Ferrières made continual visits to Venice with his resultant paintings achieving a high level of success, even being awarded a Gold Medal at the Paris Salon in 1928 and the Prix-Legay-Lebrun award, as his talent was finally recognised and acknowledged by the critics. In 1965 he held an exhibition of the ‘Views of Venice’ which was very well received.

Private collection, United Kingdom

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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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