Fine Art

Henri Charles Manguin

French, 1874-1949

Nature Morte, Melon, raubm Poires, Mais et Pot Bleu

1942
Oil on canvas
21 1/4 x 28 3/4 inches (54 x 71 cm)
Signed and dated: Manguin, 1942

Provenance:

Galerie Motte, Switzerland
Private Collector, Geneva
Galerie D'Orsay, France
Hilde Gerst Gallery, USA
Private Collection, USA

Exhibited:

Salon des Independants, Paris, 1942, no. 1968
Manguin, Galerie Montmorency, Paris, 1958, no. 34
Manguin, Galerie Motte, Geneva, 1958, no. 34
Manguin, Galerie L. Blanc, Aix-en-Provence, 1961, no. 27
Manguin, Musee des Beaux-Arts, Neuchatel, 1964, no. 141
Manguin, Chateau Musee des Cagnes, 1965, no. 47
Hommage a Manguin, Mairie de Montrouge, 1964

Literature:

Lucile & Claude Manguin, Henri Manguin, Catalogue Raisonne de l'oeuvre peint, Neuchatel, 1980, no. 1408

Henri Charles Manguin was born on March 23, 1874 in Paris. In 1894, he enrolled in the École des Beaux-Arts where he studied under Gustave Moreau, a French Symbolist painter whose main emphasis was on the illustration of biblical and mythological figures.

He became close friends with his fellow students Henri Matisse, Albert Marquet, Jean Puy, and Charles Camoin. They all studied and copied the works of the great Renaissance masters in the Louvre. Manguin would later become influenced by Impressionism as shown in his use of bright pastel hues. Manguin held his first exhibitions in 1902 at the Salon des Indépendents and the Salon d’Automne. He traveled with his good friend and fellow artist Albert Marquet throughout southern France. On one of these trips in 1904, Manguin discovered Saint-Tropez where he eventually settled and where he died in 1949 at the age of 75. Saint-Tropez provided the inspiration for Manguin’s major Mediterranean landscapes which were full of the light and beauty of the vegetation there. These paintings marked the height of his career as a Fauve artist.

Manguin presents here a still life, which is typical of his ouvre. Manguin was a Post-Impressionist and is celebrated for his flat and broad color use, very similar in approach to that of Matisse. The colors of the fruits and vegetables are bold and striking and his brushwork is fluid. The background is somewhat abstract and directs the focus to the table display. This painting is a exemplary of his still life technique.