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Henri Charles Manguin Odette dans le jardin de l Oustalet

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Henri Charles Manguin

Odette dans le jardin de l’Oustalet

Documentation

Signed

Origin

France

Period

1920-1949

Materials

oil on canvas

Dimensions

W.	18 in;	H.	24 in;
W.	45.72 cm;	H.	60.96 cm;

Condition

Good.

Creation Date

1933

Description

Henri Charles Manguin
French, 1874-1949

Odette dans le jardin de l’Oustalet
1933
Oil on canvas
24 x 18 inches (61 x 45.7 cm)
Framed: 31 1/2 x 22 1/2 inches (80 x 57 cm)
Signed lower right: Manguin

Provenance:
Madame Manguin, St Tropez, 1949
Hilde Gerst Gallery, NYC 1990
Private Collection, CT

Literature:
Lucile & Claude Manguin, Henri Manguin, Catalogue Raisonne de l'oeuvre peint, Neuchatel, 1980, no. 979, ill. P. 314

Henri Charles Manguin

Museums:
Algeri, Algeria (Musée des Beaux-Arts); Arles (Musée Réattu); Bagnols-sur-Cèze (Musée Municipal); Epinal (Musée départemental); Grenoble (Musée de Peinture et de Sculpture); Lione (Musée des Beaux-Arts); Montpellier (Musée Fabre); Nancy (Musée des Beaux-Arts); Paris (Musée d’Art Moderne de la Ville; Musée d’Art Moderne Centre Georges Pompidou; Musée du Luxembourg); Saint-Quentin (Musée A. Lécuyer); Saint-Tropez (Musée de l’Annonciade; Musée Tropelen); Strasburg (Musée des Beaux-Arts); Tolouse (Musée des Augustins); Tolone (Musée d’Art et d’Histoire) France; Bruxelles, Belgium (Musée royaux des Beaux-Arts); Gelsenkirchen, (Stadtische Kunstsammlung); Winterthur (Kunstverein); Wupperthal-Elberfeld (Museum of Stadt); Monaco (Bayerische Staatsgemaldesammlungen) Germania; Geneve, (Modern Art Foudation, Pétit Palais); Losanna (Musée des Beaux-Arts); Zurich (Kusthaus) Switzerland; Leningrado (Museo dell’Ermitage); Moscow (Museo d’arte occidentale; Museo Pouchkine) Unione Sovietica; Philadelphia (Museum of Art); Princeton (University, Art Museum); San Francisco (Museum of Art) USA

Henri Manguin was a French artist associated with the Fauve movement.Parisian born, Manguin began his career as an artist in 1894 by enrolling in the studio of Gustave Moreau at the Ecole des Beaux-Arts. Among his fellow students were Albert Marquet, Henri Matisse, Jean Puy and Georges Rouault. He exhibited for the first time in 1902 at the Salon des Indépendants and at Berthe Weil’s in 1903. Subsequently he became an associate of the Salon d’Automne to which he remained loyal until the end of his career. He also had one-man shows at Druet, Vollard and Bernheim-Jeune galleries in Paris over the years.

He was represented in the 1905 Salon d’Automne, where his canvas entitled La Sieste was hung in the room that was famously derided as the Cage aux Fauves. By association, therefore, he was known as one of the Fauvists. It was also in 1905 that Manguin discovered Provence and St Tropez, where he stayed with Paul Signac. Captivated by the beauty of the place, he finally bought a property called L’Oustalet in 1920 where later on he met Henri Edmond Cross.

In Paris at the Académie Ranson in 1908, he met up with François Jourdain and with Marquet, with whom he travelled to Naples the following year. Ever in search of landscapes to paint, Manguin travelled the length and breadth of France over a period of many years, though rarely again did he venture abroad.
In 1937 during the Exposition Internationale de Paris he participated in an exhibition of the Maitres d’Art Indépendants at the Petit-Palais with eight paintings that represented his work. The first, Saint-Tropez, was named as a Fauvist landscape in the catalogue. The others were entitled Femme à la grappe, Nu couché, Femme nue, Baigneuse au rocher, La Coiffure, La Femme au carrick, and Le Pélargonium. In 1943 a gallery in Paris presented a large group of his paintings and in 1950 the Salon des Indépendants organised an Exhibition as a posthumous tribute to his work.

Manguin’s subjects are women, painted in a feminine manner, nude, asleep, at their toilette or bathing. He painted landscapes, many of them on the Mediterranean coast and still lifes, almost always flowers. The critic and poet Apollinaire characterised him as peintre voluptueux and indeed he considered himself to be the painter of a happy life. He painted only the most harmonious aspects of the world and his methods and use of bright colors reflect his own joie de vivre. In St Tropez, he conducted long discussions (of which records exist) on the theory of color and light with his contemporaries and friends Paul Signac and Charles Camoin. Renoir’s dealer Ambrose Vollard was greatly interested in his work and techniques and the poet/painter/musician Tristan Klingsor mentioned Manguin in his book La Peinture, published in 1921: “his search for bright, vibrant colors, his outbursts of orange, his sumptuous reds…even the shadows contribute to the levity and gaiety, often taking on tones of green”.

Working during the heady days of the early 20th Century he exhibited work as Fauvism burst upon the public. It was natural that Manguin should consider himself a true Fauve. Initially he was criticised for his use of unnaturally strident acid greens, but in time he attenuated his palette and even the greens he used became harmonized with the rest of the piece. Indeed he was always rather less wild in his technique than some of the Fauves, planning his canvases with greater restraint than others in the group and retaining more control over the composition.

Styles / Movements

Post Impressionism

Incollect Reference Number

435614