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拍品專文
Manguin, along with Henri Matisse, André Derain, Maurice de Vlaminck, Albert Marquet and Charles Camoin, was a founder and early exponent of the Fauve movement. He had been close friends with Camoin, Matisse, and Marquet since 1895 when they were students of Gustave Moreau at the Ecole des Beaux-Arts. Their camaraderie and shared theoretical philosophy contributed to the momentous joint impact of their pioneering canvases when they were first shown to the public.
Along with the others, Manguin became fascinated by the color and intense light along the southern coast of France. Matisse had spent the summer of 1904 in Saint-Tropez, then a nearly inaccessible fishing village, where Signac had a home. Matisse's pictorial experimentation with divisionism, prompted by Signac, "reached a pitch at which colour itself felt to him like dynamite" (H. Spurling, The Unknown Matisse, A Life of Henri Matisse, The Early Years, 1869-1908, New York, vol. I, 1998, p. 239). In 1905, Manguin, Marquet and Camoin took up residence in Saint-Tropez while Matisse traveled east along the coast to Collioure, where they all experimented with brilliantly colored canvases. In the fall of 1905, Manguin exhibited five of these paintings alongside works by his friends in the notorious Room VII--the cage aux fauves--at the Paris Salon d'Automne.
Jean-Paul Crespelle has observed that "what distinguishes [Manguin from Matisse] is the strength and solidity of his draughtsmanship, a lesson learned from Cézanne, who he came to appreciate much earlier than his friends in the studio of Moreau. While the other Fauves were lost in admiration for Gauguin, Manguin realized how much Gauguin owed to Cézanne" (The Fauves, London, 1962, p. 227). Manguin's preference for clearly delineated contours and accents is evident in the present painting in the subtle curve of the nude and the delicately twisting arabesques of the tree branches.
Etude inversée, Nu sous les arbres, Villa Demière reflects Manguin's complete and enthusiastic adherence to Fauvism. The present work was painted soon after Manguin's initial stay in Villa Demière in May 1905, and depicts the artist's beloved wife, Jeanne, reclining under a tree at their home, located on top of the hills of Malleribes, overlooking the bay and the port of Saint-Tropez. Manguin was taken with the beautiful trees, pines and cork oaks which shaded the garden and under which his wife can lie down secluded and undisturbed. Throughout their marriage, Manguin frequently painted Jeanne; she appears in his works in every imaginable setting, from interior scenes, standing nude at the mirror, to exterior scenes bathing blissfully 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.
Along with the others, Manguin became fascinated by the color and intense light along the southern coast of France. Matisse had spent the summer of 1904 in Saint-Tropez, then a nearly inaccessible fishing village, where Signac had a home. Matisse's pictorial experimentation with divisionism, prompted by Signac, "reached a pitch at which colour itself felt to him like dynamite" (H. Spurling, The Unknown Matisse, A Life of Henri Matisse, The Early Years, 1869-1908, New York, vol. I, 1998, p. 239). In 1905, Manguin, Marquet and Camoin took up residence in Saint-Tropez while Matisse traveled east along the coast to Collioure, where they all experimented with brilliantly colored canvases. In the fall of 1905, Manguin exhibited five of these paintings alongside works by his friends in the notorious Room VII--the cage aux fauves--at the Paris Salon d'Automne.
Jean-Paul Crespelle has observed that "what distinguishes [Manguin from Matisse] is the strength and solidity of his draughtsmanship, a lesson learned from Cézanne, who he came to appreciate much earlier than his friends in the studio of Moreau. While the other Fauves were lost in admiration for Gauguin, Manguin realized how much Gauguin owed to Cézanne" (The Fauves, London, 1962, p. 227). Manguin's preference for clearly delineated contours and accents is evident in the present painting in the subtle curve of the nude and the delicately twisting arabesques of the tree branches.
Etude inversée, Nu sous les arbres, Villa Demière reflects Manguin's complete and enthusiastic adherence to Fauvism. The present work was painted soon after Manguin's initial stay in Villa Demière in May 1905, and depicts the artist's beloved wife, Jeanne, reclining under a tree at their home, located on top of the hills of Malleribes, overlooking the bay and the port of Saint-Tropez. Manguin was taken with the beautiful trees, pines and cork oaks which shaded the garden and under which his wife can lie down secluded and undisturbed. Throughout their marriage, Manguin frequently painted Jeanne; she appears in his works in every imaginable setting, from interior scenes, standing nude at the mirror, to exterior scenes bathing blissfully 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.