After visiting Marseilles in late 1905, Signac proceeded to paint two canvases in his studio: one showing the entrance to the port and this view, facing the hill surmounted by Notre-Dame-de-la-Garde, the church nicknamed the Good Mother by seamen. Bright and boldly colored, the composition reflects Signac's contact with the artists Henri-Edmond Cross and Matisse at Saint-Tropez in the summer of 1904. The rectangular strokes of unmixed pigment, arranged like tesserae in a mosaic, are Signac's variation on the innovative painting method pioneered by Seurat.