Major exhibition of Henri Manguin at the Fondation de l’Hermitage, Lausanne in the summer of 2018
All five oil paintings displayed by Manguin at the 1905 Salon d’Automne were bought right away. Amboise Vollard bought one hundred and fifty of the artist’s paintings the next year. In the years that come, Henri Manguin befriended Henri-Edmond Cross and Félix Vallotton, and the latter put him in touch with important Swiss collectors.
Thus, in his thirties, Henri Manguin has already became a popular and prosperous artist who developed his own distinctive style.
Henri Manguin started his artistic career by abandoning his studies at the Lycée Colbert at the age of 15 in order to devote himself exclusively to painting. Then, four years later, he left home for Montmartre and enrolled in Gustave Moreau’s studio at the Ecole des Beaux-Arts. There he met Henri Matisse, Albert Marquet, Charles Camoin, Georges Rouault, Jean Puy, and Louis Valtat who were his fellow students.
Gustave Moreau began teaching late in his life and he was remembered as a liberal and flexible teacher. Nonetheless, like other art students of the time, his pupils improved their art by making copies of paintings by Old Masters in the Louvre Museum. Manguin was among those as well. At the same time his style was greatly influenced by Impressionists as evidenced by his use of bright pastel hues.
Above: Henri Manguin, Self-portrait. 1905 (approximately 31 years old). Private collection.
- Henri and Jeanne Manguin, 1900
- Henri Manguin. Jeanne at the Fountain, Villa Demiere. 1904
Manguin’s subjects are women, landscapes, mostly Mediterranean, and still lifes with flowers, fruits, and other food — all of great balance and harmony. The artist considered himself to be the painter of a happy life, depicting the most harmonious aspects of the world. Tristan Klingsor, a French poet, musician, painter and art critic mentioned Manguin in his book La Peinture (1921): "his search for bright, vibrant colours, his outbursts of orange, his sumptuous reds… even the shadows contribute to the levity and gaiety, often taking on tones of green."
- Henri Manguin, Morning at Cavaliere. 1906
- Henri Manguin, Saint-Tropez, Sunset. 1904
Manguin visited Saint-Tropez again the following year and bought a property there in 1920. From the 1920s onward, he alternated his life in Paris with long periods in Saint-Tropez, Marseille, and Neuilly-sur-Seine. He also travelled extensively in Italy, Switzerland and Belgium looking for the landscapes to paint, following this half-nomadic lifestyle and never staying long in any one place until the World War II.
After a short illness, he died in Saint-Tropez on 25 September 1949, at the age of 75.
- Paul Cézanne, Still life with apples and oranges. 1900
- Henri Manguin, Still life. 1909
- Henri Manguin, Interior. 1900
- Henri Manguin, Little Italian Girl. 1903
- Henri Manguin, Woman Bather (Baigneuse). 1906
- Henri Manguin, La Faunesse, Villa Demière. 1905
- Henri Manguin, Engravings.A study is an exercise painting that helps the painter better understand the object he or she paints. It is simple and clear, like sample letters in a school student’s copybook. Rough and ready, not detailed, with every stroke being to the point, a study is a proven method of touching the world and making a catalogue of it. However, in art history, the status of the study is vague and open to interpretation. Despite its auxiliary role, a study is sometimes viewed as something far more significant than the finished piece. Then, within an impressive frame, it is placed on a museum wall.. 1905
So, when does a study remain a mere drill, and when can we call it an artwork in its own right, full of life and having artistic value? Read more
- Henri Manguin, Prints. 1905
- Henri Manguin, Jeanne at the dressing table. 1905
- Henri Manguin, Jeanne at the dressing table. Etude. 1903