Henri Manguin

Rade de Villefranche

Oil on canvas: 29(h) x 36.5(w) in /

73.7(h) x 92.7(w) cm

Signed lower left: Manguin

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BV 202

 

HENRI MANGUIN

Paris 1874 – 1949 St Tropez

 

Rade de Villefranche

 

Signed lower left: Manguin

Oil on canvas: 29 x 36 ½ in / 73.7 x 92.7 cm

Frame size: 40 ½ x 47 ½ in / 102.9 x 120.6 cm

In an antique Louis XIV carved and gilded frame

 

Painted in November 1913

 

Provenance:

E Druet, Paris, acquired directly from the artist in December 1913 Laroche Collection, Paris Mme E Druet, Paris, acquired by October 1923 G Chéron;

his sale, Hôtel Drouot, Paris, 31st January 1944, lot 72 Private collection;

Christie’s New York, 16th May 1985, lot 369 Kathleen and Martin Field, Philadelphia, acquired at the above sale

 

Literature:

Marie-Caroline Sainsaulieu, Henri Manguin Catalogue Raisonné de l’Oeuvre Peint sous la Direction de Lucile et Claude Manguin, Neuchâtel 1980, p.182, no.472, illus.

 

 

Henri Manguin was a pupil with Matisse, Marquet, Rouault and Camoin in the studio of Gustave Moreau, a liberal teacher who sensed the ferment of originality in these young men: he told them that he was the bridge over which they would pass. They sprang to notoriety at the 1905 Salon d’Automne, with paintings in which vivid, anti-naturalistic colour is used as a vehicle to express emotion. Perspective, paramount since the Renaissance, was jettisoned in favour of eddying black lines and a pulsating picture plane. The outraged critic Louis Vauxcelles dubbed these artists ‘fauves’ (wild beasts).

 

Manguin first discovered the South of France in 1904, when he was invited to Saint-Tropez by Signac. From the 1920s, like his friend Matisse, he divided his time between Paris and the Côte d’Azur. This painting of 1913 captures the extraordinary natural beauty round Villefranche-sur-Mer, east of Nice and six miles south-west of Monaco. By this period Manguin had moved away from the hot, clashing colours of his Fauve phase to achieve a harmonious, interlinked palette influenced by the work of Paul Cézanne. He distils the essence of the landscape through touches of colour that blend on the picture surface, evoking the pulsating brightness of the Midi. Manguin weaves greens, blues, blue-greys and violet shadows with areas of ochre and flesh pink in the sun-drenched hills. The energy of nature is suggested by the slender tree in the left foreground, its leaves painted with feathery lightness, as if they are trembling in the breeze.

 


HENRI MANGUIN

Paris 1874 – 1949 St Tropez

 

 

Henri Manguin was born in Paris in 1874. In 1894 he entered the studio of Gustave Moreau at the Ecole des Beaux-Arts, a fellow pupil of Matisse, Marquet, Rouault, Valtat and Camoin, who remained lifelong friends. In 1899 he married his muse and model Jeanne Carette and in 1902 exhibited for the first time at the Salon des Indépendents. Manguin first discovered the South of France in 1904, when he was invited to Saint-Tropez by Paul Signac, with whom he shared a love of fast cars. The dazzling Mediterranean light had a profound effect on Manguin’s work. Manguin and his friends showed paintings with emotionally-charged, anti-naturalistic colour and shifting perspective at the 1905 Salon d’Automne, provoking the critic Louis Vauxcelles to dub them ‘fauves’ (wild beasts). The following year Ambroise Vollard bought 150 of Manguin’s works.

 

Manguin depicted nudes, landscapes, interior scenes and still lifes in a direct, painterly style, although the palette of his later work is softer and more naturalistic than that of his Fauve period. From the 1920s, like Matisse, he divided his time between Neuilly-sur-Seine to the west of Paris and the South of France, renting, then buying, a house called l’Oustalet at Saint-Tropez. Manguin also made painting trips to Normandy, Brittany and other parts of France and to Switzerland, where he gained important patrons through his friendship with Félix Vallottan. Manguin died at Saint-Tropez in 1949. In 1950 the Salon des Indépendents organized a major retrospective of his work.

 

The work of Henri Manguin is represented in the Musée d’Orsay, Paris; the Hermitage, St Petersburg; the Museo Thyssen-Bornemisza, Madrid; the Metropolitan Museum of Art, New York and the Art Institute of Chicago.

 

 

 

 

 

 

 

ImpressionistHenri Manguin