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Lot Essay
With his bright palette, careful composition and continuously energetic and uplifting paintings, Manguin established himself among the pioneering artists of the turn of the century. Having come to Paris in the late 19th century to study under Gustave Moreau, along with contemporaries Henri Matisse, Albert Marquet, and Georges Rouault, Manguin began to develop a distinctive style full of exuberance. In 1905, Manguin exhibited with Henri Matisse and Maurice de Vlaminck at the Salon d'Automne, and it was here that the Fauve label was coined due to their use of bold and shocking palette, the critic Louis Vauxcelles proclaimed these painters Fauves, or "wild animals."
The present work reflects Manguin's love for both his summer home and, more importantly, his wife Jeanne. Like many artists of the time, Manguin enjoyed the freedom of travel that had enabled them to explore a variety of atmospheres and sceneries. He first visited St. Tropez in 1904, where he met Paul Signac and briefly dabbled in Pointillism. He fell in love with the locale, which in turn became his second home. Returning each summer, Manguin reveled in its beauty and rich and varied color.
Like the environs of St. Tropez, Jeanne was his favorite subject. They wed in 1899, having been introduced by his friend Raoul de Mathan on a trip to Cotentin three years earlier while still a student at the Ecole des Beaux Arts. Throughout their marriage, Manguin loved to paint Jeanne: she appears in his works in every imaginable setting, from interior scenes, standing nude at the mirror, to exterior scenes where she lies blissfully in a summer dress under the shade of trees. Manguin clearly adored his wife, and, perhaps more than any other artist, continued to portray their intimacy throughout his career. The present work unites his favorite subject with his favorite place in a colorful and joyous composition.
The present work reflects Manguin's love for both his summer home and, more importantly, his wife Jeanne. Like many artists of the time, Manguin enjoyed the freedom of travel that had enabled them to explore a variety of atmospheres and sceneries. He first visited St. Tropez in 1904, where he met Paul Signac and briefly dabbled in Pointillism. He fell in love with the locale, which in turn became his second home. Returning each summer, Manguin reveled in its beauty and rich and varied color.
Like the environs of St. Tropez, Jeanne was his favorite subject. They wed in 1899, having been introduced by his friend Raoul de Mathan on a trip to Cotentin three years earlier while still a student at the Ecole des Beaux Arts. Throughout their marriage, Manguin loved to paint Jeanne: she appears in his works in every imaginable setting, from interior scenes, standing nude at the mirror, to exterior scenes where she lies blissfully in a summer dress under the shade of trees. Manguin clearly adored his wife, and, perhaps more than any other artist, continued to portray their intimacy throughout his career. The present work unites his favorite subject with his favorite place in a colorful and joyous composition.