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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 in Paris. Their camaraderie and shared theoretical philosophy contributed to the momentous joint impact of their pioneering canvases when they were first shown to the public in 1905.
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, 1998, vol. I, 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). Painted in 1907, Mimosas en fleurs reflects Manguin’s complete and enthusiastic adherence to Fauvism.
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, 1998, vol. I, 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). Painted in 1907, Mimosas en fleurs reflects Manguin’s complete and enthusiastic adherence to Fauvism.