Henri Manguin (1874-1949)
Henri Manguin (1874-1949)

Jeanne à l'ombrelle, Cavalière

Henri Manguin (1874-1949)
Jeanne à l'ombrelle, Cavalière
stamped with signature 'Manguin' (lower right)
oil on canvas
36¼ x 28¾ in. (92 x 73.2 cm.)
Painted in Spring-Summer 1906
Estate of the artist.
Lucile Manguin, Paris (by 1962).
Jack Josey, Houston (1971).
Anon. sale, Christie's, New York, 12 November 1992, lot 135.
Acquired at the above sale by the present owner.
J.-P. Crespell, The Fauves, London, 1962, p. 10, no. 85 (illustrated in color, pl. 85).
L. and C. Manguin, Henri Manguin, Catalogue raisonné de l'oeuvre peint, Neuchâtel, 1980, p. 106, no. 210 (illustrated).
Albi, Musée Toulouse-Lautrec, Exposition Henri Manguin, Peintures, Aquarelles, Dessins, April-May 1957, p. 43, no. 23 (titled Femme à l'ombrelle).
Avignon, Musée Calvet, Manguin, 1959, no. 10 (dated 1905).
Galerie de Paris, Manguin, 1964, no. 19.
Saint-Denis, Musée d'Art et d'Histoire, Les peintres et la nature en France depuis l'Impressionnisme, 1965, no. 13.
London, Arthur Tooth & Sons Ltd., Henri Manguin, October-November 1966, no. 3 (illustrated; titled Femme à l'ombrelle, Cavalière).
Recklinghausen, Städtische Kunsthalle, Zauber des Lichtes, June-July 1967, no. 102 (illustrated).

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David Kleiweg de Zwaan
David Kleiweg de Zwaan

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.

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