press packet / june 2017 manguin the joy of colour...manguin, the joy of colour 7 press packet /...

Press packet / June 2017

Manguin

The Joy of Colour From July 14 to November 5, 2017

www.mdig.fr

Manguin, the Joy of colour

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press packet / June 2017

musée des impressionnismes Giverny

sumary

4 presentation of the exhibition Manguin, the Joy of Colour 6 overview of the exhibition Manguin, the Joy of Colour 10 chronology 12 list of lenders 14 press images 18 catalogue 20 practical information

Henri Manguin Autoportrait, 1905 Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

presentation

of

the exhibition

Henri Manguin Claude en rouge lisant, 1909 Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017


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Manguin

The Joy of Colour From July 14 to November 5, 2017 Dubbed ‘the voluptuous painter’ by Guillaume Apollinaire, Henri Manguin celebrated the joy of life through Arcadian themes, nudes, Mediterranean landscapes, scenes of family life and still lifes. Indeed, as early as his years of training, during which he studied under Gustave Moreau and discovered Impressionism, the artist steadfastly expressed a joyful sensuality. The exhibition Manguin, The Joy of Colour at the musée des impressionnismes Giverny features around ninety works that trace the career of this friend of Henri Matisse. It focuses in particular on the period when Manguin, who from the outset displayed a rare talent for and creativity with colour harmonies, accompanied – and sometimes anticipated – the bold innovations of the Fauve painters with whom he exhibited at the Salon d’Automne in 1905. Curator : Marina Ferretti, Director of Exhibitions and Research at musée des impressionnismes Giverny Exposition : From July 14 to November 5, 2017 at Musée des impressionnismes Giverny From June 22 to October 28, 2018 at Fondation de l'Hermitage in Lausanne (Switzerland)

Born in Paris in 1874, Henri Manguin decided to become an artist in 1889 and studied at the École des Arts Décoratifs, where he took first drawing lessons then painting classes. He stayed for four years, from 1890 to 1894, meeting Albert Marquet and Georges Rouault there. In 1892, he also befriended Henri Matisse, who was attending evening drawing classes.

In November 1894, Manguin passed the entrance exam for the École des Beaux-Arts and entered the atelier of Gustave Moreau, where he met up with his friends Rouault, Marquet and Matisse. He also befriended Raoul de Mathan, Louis Valtat and Charles Camoin. Although he was a member of the Institut, their teacher nevertheless allowed them great freedom and they appreciated his tolerant attitude. A few years later, together they helped to create the Fauve movement along with, among others, André Derain, Maurice de Vlaminck and Raoul Dufy.

1. The studio in rue Boursault: 1898–1904

At the start of his career, Manguin lived in the 18th arrondissement. He discovered the galleries in rue Laffitte, in particular the gallery of Paul Durand-Ruel, the Impressionists’ dealer. He also frequented the gallery of Ambroise Vollard, which marked the opening of its new premises in 1895 with a display of paintings by Vincent van Gogh, followed by an exhibition devoted to Paul Cézanne. The works Manguin painted in 1901 and 1902 reflect his interest in the painting of the time, in particular that of the Impressionists and the Nabis.

When Gustave Moreau died in 1898, Manguin left the École des Beaux-Arts. In 1899, he moved to 61 rue Boursault in the Batignolles neighbourhood with Jeanne Carette, whom he had just married and who

overview

of

the exhibition

Henri Manguin L’Amandier en fleurs, 1907 Suisse, collection particulière © Tous droits réservés / Photo : Jacques Bétant © ADAGP, Paris, 2017


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became his favourite model. In his garden, he had built a studio that could be dismantled, where his former co-students from Moreau’s atelier would gather, hiring models to pose for them.

Manguin quickly demonstrated a rare talent and a free way of arranging colours in his compositions, an original approach evident as early as 1900 in Jeanne à la rose (private collection), as well as in his first still lifes. This characteristic was reaffirmed in La Petite Italienne (1903, Switzerland, private collection) La Femme au Carrick, Jeanne (1903–1904, Switzerland, private collection) and Devant la fenêtre, rue Boursault (1904, private collection).

In 1901, Manguin was admitted to the official Salon. The following year, he exhibited at the Salon des Artistes Indépendants and then the Salon d’Automne, of which he became a member in 1904. On the time of the exhibition of the Indépendants in 1903, the critic Roger Marx immediately remarked that ‘the contemplation of the old masters, recommended by Gustave Moreau, as well as the works of M. Cézanne, have prompted in the latest generations a love of strong painting, a passion for rich, dazzling colours, applied to canvas in large patches’ (Roger Marx, ‘Le Salon des artistes indépendants’, La Chronique des arts et de la curiosité, 28 March 1903).

2. The Fauve years: 1904–1905

In October 1904, Manguin stayed for the first time in Saint-Tropez, where he rented La Ramade, the house that Matisse had just vacated after spending the summer there. It was next door to La Hune, Paul Signac’s villa, and the two artists who were both passionate about colour became friends. As soon as he arrived, Manguin wrote to his friend Marquet: ‘The property we are staying in exceeds anything you could imagine. Saint-Tropez looks very beautiful. […] I am thrilled. It’s a dream come true’ (Henri Manguin to Albert Marquet, Saint-Tropez, 4 October 1904, Archives Jean-Pierre Manguin). Euphoric, over a two-week period he painted several watercolours and ten paintings, notably Saint-Tropez, le coucher de soleil (1904, private collection), which celebrates the tranquillity of a Mediterranean that was still free from tourists. In this setting, the colour in his works gained in intensity, reflecting his sense of wonder. His radiant paintings, for the most part nudes and Arcadian landscapes, convey his elation.

Manguin continued his exploration of pure tones during the winter in Paris, where he painted Les Gravures (1905, Madrid, Carmen Thyssen-Bornemisza collection on loan to the Museo Thyssen-Bornemisza) and La Coiffure (1904–1905, Couturat collection). He also worked with Matisse, Marquet and Jean Puy on a Nu dans l’atelier (1904–1905, private collection), which

entered the collection of Leo Stein, as did Étude de femme couchée (1905, private collection).

From this point on, Manguin visited the shores of the Mediterranean increasingly often. In summer 1905, the painter returned to Saint-Tropez, where he rented the Villa Demière. He wrote to Matisse: ‘I am excited by this region and above all the place we are staying in. It is quite admirable’ (Henri Manguin to Henri Matisse, Saint-Tropez, 9 June 1905, Archives Jean-Pierre Manguin). In addition to Signac, Manguin also saw the Neo-Impressionist painters Henri-Edmond Cross and Théo van Rysselberghe. On 21 September, he wrote to Matisse: ‘I believe the South has been very instructive for me and [I] return, if not pleased with myself, then at least with an impression of great beauty and an understanding of lots of things hitherto unknown’ (Henri Manguin to Henri Matisse, Saint-Tropez, 21 September 1905, Archives Jean-Pierre Manguin).

On 18 October 1905, the Salon d’Automne opened. The former students from Moreau’s atelier exhibited their works together in room seven. Manguin showed five works painted during the summer: Les Grands Chênes-Lièges, Villa Demière (1905, private collection), Le Pré, Villa Demière (1905, private collection), Jeanne sur le balcon de la Villa Demière (1905, private collection), La Sieste or Le Rocking-chair, Jeanne (1905, Winterthur, private collection) and Nu sous les arbres, Jeanne (1905, Kunststiftung Pauline, private collection). They all celebrated the nature and light of the South of France, displaying rare mastery and freedom in the use of colour. Critic Louis Vauxcelles, who, like Roger Marx, had already noticed the affinities that united them, wrote on 17 October in Gil Blas:

M. Manguin: enormous progress; an independent who has emerged from his sketches and is working resolutely toward big paintings. Too many traces of Cézanne still; but the mark of a powerful personality, all the same. […] In the centre of the room, a child’s torso and a small marble bust, by Albert Marque, who models with delicate skill. The candour of these busts is surprising in the middle of this orgy of pure tones: Donatello amid the wild beasts [fauves].

The word was launched, and Fauvism was born. Although some critics were scandalised, all the works exhibited by Manguin were sold, attracting the attention of knowledgeable connoisseurs – that of the painter and writer André Rouveyre, who he had met in Moreau’s studio, as well as that of the dealers Eugène Druet and Ambroise Vollard, who would buy 142 canvases from him the following year. It marked the start of the artist’s success; he was thirty-one years old.

overview

of

the exhibition

Henri Manguin Saint-Tropez, le coucher de soleil, 1904 Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017


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3. Arcadias: 1906–1914

In the summer of 1906, Cavalière inspired Manguin to paint a series of landscapes that confirmed his qualities as a colourist: Les Roches rouges, Cavalière (1906, private collection), La Pinède à Cavalière (1906, private collection) and Jeanne à l’ombrelle, Cavalière (1906, Peter Findlay Gallery). Jeanne often posed, naked or simply clad, in the Mediterranean Eden. The painter was delighted to return to Saint-Tropez and the Villa Demière in 1907 and 1908. Le Golfe de Saint-Tropez (1907, Paris, Centre Pompidou, Musée National d’Art Moderne) marked the beginning of a change, with the influence of Cézanne, who had died the previous year, reasserting itself. In 1908, Manguin’s art evolved and, as in the work of most of his Fauve friends, line became prominent again.

Yet the painter remained true to the qualities that had made him famous, notably the simplicity of forms and the dazzling chromatic harmonies that determine the organisation of the composition. Nor did he abandon the pure tones or resounding harmonies of the Fauve years. He painted sumptuous still lifes as well as measured portraits of Jeanne and their children, such as Claude en rouge lisant (1909, private collection) and Nature morte aux faisans bleus (1909, Switzerland, private collection). His carefully thought out, harmonious landscapes with their balanced composition refer to Cézanne and the classical tradition (Les Aloès en fleurs à Cassis, 1913, private collection).

From 1909, Manguin, obliged to move when the Ville de Paris bought up plots of land in rue Boursault, lived in Neuilly, where he set up his temporary studio again. He often saw Félix Vallotton, whom he visited in Honfleur in 1909 and 1910. He had a growing number of exhibitions, both in France and abroad. He was very active on the international art scene, showing works at the Salon de la Libre Esthétique in Brussels in 1906, then in the large traveling exhibition Französischer Künstler, which revealed French art in Germany. His work was exhibited at the Golden Fleece exhibitions in Moscow in 1908 and 1910, and also at the large exhibition organised by Roger Fry in London in 1910, Manet and the Post-Impressionists, as well as the Armory Show in New York in 1913. In Paris, he was loyal to the Indépendants and the Salon d’Automne. The Berthe Weil and Vollard galleries were no longer the only ones to exhibit his works, which were also shown at the Galerie Bernheim-Jeune. A first solo exhibition was organised in 1910 by Eugène Druet, who repeated the exercise in 1913.

The circle of collectors also expanded to include the Russians Ivan Morosov and Sergei Shchukin. In 1910, Félix Vallotton introduced him to Arthur and Hedy Hahnloser, veritable ambassadors of French art in Switzerland. They commissioned Manguin to paint a

portrait of their children, collected his works and often invited him to the Villa Flora in Winterthur. To thank his patrons, Manguin gave La Reine des poupées (1910, private collection) to the children, Hans and Lisa Hahnloser. The Manguins were delighted to discover the landscapes of Switzerland, where the artist received support from great art lovers such as Hans E. Bühler. When war broke out in August 1914, many of his friends were called up. Discharged, Manguin accepted an offer from Paul Vallotton, who suggested he take his family somewhere safe, and settled in Lausanne.

4. Works on paper

From the outset, Henri Manguin attached particular importance to drawing, which he practised from an early age. It should be recalled that he was fifteen years old when he decided to take drawing classes at the École des Arts Décoratifs which, his artistic vocation confirmed, he entered the following year, in 1890. He received a solid training there based on intensive drawing from live models and casts. In 1894, this education opened the doors to the École des Beaux-Arts, where he entered the atelier of the Symbolist painter Gustave Moreau, who was himself a great draughtsman and remarkable watercolourist.

As the drawings in the exhibition show, Manguin used a variety of techniques: graphite, charcoal and pen and India ink for works in black and white; and pastel and watercolour for colour. In October 1904, in Saint-Tropez, Manguin painted several watercolours, demonstrating a certain talent for this technique. These works, with their feverish curves running sinuously across the white paper, testify to a free handling that quickly spread to his oil paintings. Manguin and Matisse were quick to apply the watercolour approach of Signac and Cross to their canvases, in which the quest for an ideal harmony gave pride of place to the search for a powerful expressivity.

In the same way, Fauve drawing was quick to flourish, as demonstrated by some of the drawings in the exhibition, in which the artist deliberately turned his back on the attractions of a mastery acquired long before. Compositional balance and beauty of line now gave way to the unfinished and an affirmation of irregular sometimes rough line.

‘I really do not think that the school that the young hate is so dire. We all went there and we are not doing so badly. The important thing is to get out of them. But not to think that you have got out because you have never been there’ (Henri Manguin to Arthur and Hedy Hahnloser, Neuilly-sur-Seine, March 1913, Archives Jean-Pierre Manguin).

10 musée des impressionnismes Giverny

Manguin, the Joy of colour press packet / June 2017

chronology

Henri Manguin Les Aloès en fleurs à Cassis, 1913 Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017



1874: Henri Manguin is born in Paris.

1890: After studying drawing at the Arts Décoratifs the previous summer, Manguin stops attending the Lycée Colbert in order to devote himself entirely to painting.

1891: He enters the École des Arts Décoratifs and meets Albert Marquet, then Matisse the following year.

1894: Manguin passes the entrance exam for the École Nationale des Beaux-Arts where he studies in Gustave Moreau’s atelier.

1896: Henri Manguin meets Jeanne Carette, who would become his wife and favourite model. The couple would have four children: Claude (born in 1900), Pierre (born in 1902), Jean (born in 1903) and Lucile (born in 1905).

1899: The couple settles in Paris, at 61, rue Boursault

1900: The artist builds a temporary studio in his garden, where Matisse and Marquet would come regularly.

Henri Manguin’s Biography (1874-1949)

1897: Manguin submits a work to the Salon de la Société Nationale des Beaux-Arts for the first time.

1902: Manguin participates in the Salon des Indépendants for the first time.

1903: Takes part in the Salon d’Automne.

1904: At Matisse’s suggestion, Manguin stays in Saint-Tropez during the summer for the first time. Becomes friends with Paul Signac, who is living in the villa next door.

1905: The artist exhibits eight works at the Salon des Indépendants. In the same year he rents the Villa Demière in Saint-Tropez. At the Salon d’Automne, he exhibits five canvases painted during his last stay in room seven, alongside works by Matisse, Derain, Vlaminck, Camoin and Marquet. The famous quote written by Louis Vauxcelles during the exhibition would give a name to this group of artists, who were now known as Fauves.

1906: The Manguin family stays in Cavalière, where Paul Signac, Théo van Rysselberghe, Henri Lebasque and Henri-Edmond Cross come to visit. Because of Manguin’s success the previous year, dealer Ambroise Vollard buys 150 canvases from him, and his works are exhibited in several shows in Europe.

1909: The Manguin family leaves rue Boursault and moves to a house in Neuilly, where the old studio is erected again.

1910: The Galerie Druet organises his first solo exhibition. At this event, the Swiss collectors Arthur and Hedy Hahnloser buy two of his canvases. Henri Manguin becomes a close friend and advises them on enriching their collection.

1912: Stays at the Villa Flora in the spring, then the family travel to Cassis, where Manguin works alongside Othon Friesz.

1914–1918: During the war, the artist lives in Switzerland, in Lausanne, near Paul Vallotton, in Winterthur at the Hahnlosers and in Colombier near Neuchâtel.

1920: Manguin stays at the Villa l’Oustalet, in Saint-Tropez, which he would buy a few years later.

1937: Manguin’s works are displayed in exhibitions in Tunis, Cairo, Berlin, Canada and France.

1938: When the Galerie Druet closes, Manguin’s son buys his father’s unsold canvases.

1940: The painter takes part in the Venice Biennale.

1940–1945: During the Second World War, Manguin works in Paris, Saint-Tropez and Avignon, where he rents a studio.

1949: Shortly after celebrating fifty years of marriage with Jeanne, Manguin leaves Paris for Saint-Tropez, where he dies.



list

of

lenders

Henri Manguin La Couseuse à la robe rouge, Jeanne, 1907 Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017



Austria Salzburg, galerie Thomas Salis Vienna, The Albertina Museum France Grenoble, musée de Grenoble Nancy, musée des Beaux-Arts Paris, Centre Pompidou, musée national d’Art moderne / Centre de création industrielle Paris, Centre national des arts plastiques Paris, musée d’Art moderne de la Ville de Paris Saint-Tropez, l’Annonciade, musée de Saint-Tropez Spain Madrid, Museo Thyssen-Bornemisza Switzerland Winterthur, Villa Flora Turkey Arkas Collection United States New York, Peter Findlay Gallery As well as private collectors who preferred to remain anonymous

press

images

Henri Manguin Jeanne sur le balcon de la Villa Demière, 1905 Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017


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These images are

only available to illustrate

articles about the exhibition

and for its duration.

All other rights reserved.



Henri Manguin La Petite Italienne, 1903 Huile sur toile, 61 x 50 cm Suisse, collection particulière © Tous droits réservés / Photo : Jacques Bétant © ADAGP, Paris, 2017

Henri Manguin Saint-Tropez, le coucher de soleil, 1904 Huile sur toile, 81 x 65 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin Saint-Tropez, l’arbre et le golfe, 1904 Aquarelle et mine de plomb sur papier, 19,4 x 15,2 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin Les Gravures, 1905 Huile sur toile, 81 x 100 cm Madrid, collection Carmen Thyssen-Bornemisza, dépôt au Museo Thyssen-Bornemisza, CTB.1997.35 © Madrid, collection Carmen Thyssen-Bornemisza, dépôt au Museo Thyssen-Bornemisza © ADAGP, Paris, 2017

Henri Manguin Autoportrait, 1905 Huile sur toile, 55 x 46 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin Devant la fenêtre, rue Boursault, 1904 Huile sur toile, 61 x 50 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017


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Henri Manguin La Gitane à l’atelier, 1906 Huile sur toile, 46,5 x 55 cm Saint-Tropez, L’Annonciade, musée de Saint-Tropez, 1976.1.1 © Saint-Tropez, L’Annonciade, musée de Saint-Tropez / Photo : Pierre Stéphane Azéma © ADAGP, Paris, 2017

Henri Manguin La Couseuse à la robe rouge, Jeanne, 1907 Huile sur toile, 81 x 100 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin Jeanne sur le balcon de la Villa Demière, 1905 Huile sur toile, 81 x 65 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin La Pinède à Cavalière, 1906 Huile sur toile, 65 x 81 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin L’Amandier en fleurs, 1907 Huile sur toile, 65 x 81 cm Suisse, collection particulière © Tous droits réservés / Photo : Jacques Bétant © ADAGP, Paris, 2017

Henri Manguin Claude en rouge lisant, 1909 Huile sur toile, 92 x 73 cm, Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin Les Aloès en fleurs à Cassis, 1913 Huile sur toile, 92 x 73 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin Nature morte aux faisans bleus, 1909 Huile sur toile, 116 x 89 cm Collection particulière © Prolith AG © ADAGP, Paris, 2017


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Description

This volume, the catalogue for the exhibition Manguin, lhe Joy of Colour held at the musée des impressionnismes Giverny, traces the early years in the career of Henri Manguin (1874–1949), a painter who contributed to the birth of Fauvism.

During his training, Manguin met Albert Marquet and Henri Matisse, who he met up with again after he entered the École des Beaux-Arts, in Gustave Moreau’s atelier. Together with André Derain and Maurice de Vlaminck, they formed the group of young painters who would be baptised the ‘Fauves’ at the Salon d’Automne of 1905. The catalogue sheds light on this period when the painter created colour harmonies that reveal an unusual talent and creativity that accompanied and sometimes anticipated the bold innovations of his Fauve friends. During his stays in the South of France the artist intensified his work on colour, which reflects his delight in the Mediterranean landscapes. His dazzling paintings from the first quarter of the 20th century – mostly nudes and Arcadian landscapes – express the artist’s excitement as he flourished amid this natural Eden.

With almost 100 paintings, watercolours and drawings, supplemented by a large selection of archive documents and photographs, this catalogue enables readers to rediscover the art of one of the greatest Fauve painters, from his years of training at the turn of century to the First World War.

The authors

Corinne Currat is scientific advisor at the Fondation de l’Hermitage in Lausanne.

Dominique Lobstein is the author of numerous books about Impressionism.

Jean-Pierre Manguin, Henri Manguin’s grandson, is a specialist in the artist’s work and is very active in promoting it.

Note

Much of the catalogue is devoted to illustrations.

Practical Information

Musée des impressionnismes Giverny 99 rue Claude Monet | 27620 Giverny T 02 32 51 94 65 | [email protected] www.mdig.fr Open from July 14 to November 5, 2017 Open every day, from 10 am to 6 pm The Museum is accessible to people with reduced mobility. On the spot: restaurant-tearoom, giftshop-bookstore

Admission fees

Ticket for galleries only Adult: 7 € Child 12 to 18 / Reduced fee / Student: 4,50 € Child 7 to 11: 3 € Visitor with disabilities: 3 € Child under 7: gratuit Free on 1st Sunday of the month

Family ticket: buy 3 tickets get one free child admission Solo Pass: €20 | Duo Pass: €35 Audioguide: €3,50 Combined Tickets Musée des impressionnismes + Maison et Jardins de Claude Monet Adult: €16,50 Child 12 to 18 / Student: €10 Child 7 to 11: €8,50 Visitor with disabilities: €7 Child under 7: free Musée des impressionnismes + Musée de Vernon Adult: 8,50 € A combined ticket enables you to avoid queuing Online purchasing available*: www.mdig.fr www.fnac.com et www.ticketmaster.fr * additional charge for management costs

Musée des impressionnismes Giverny 99 rue Claude Monet BP 18 27620 Giverny France T : 33 (0) 232 51 94 65 F : 33 (0) 232 51 94 67 Ouvert tous les jours [email protected] www.mdig.fr

From July 14 to November 5, 2017 Every day from 10 am to 6 pm (last admission 5.30 pm)

For further information anne samson communications Federica Forte / Andréa Longrais T : 33(0)1 40 36 84 40 / 33(0)1 40 36 84 32 [email protected] / [email protected] Au the musée Responsable de la communication et des partenariats Géraldine Brilhault T : 33(0)2 32 51 92 48 [email protected]

In cover Henri Manguin Devant la fenêtre, rue Boursault (détail), 1904 Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017 Inside: Photographies non contractuelles ©cg27, J. Faujour, JC. Louiset, N.Mathéus, mdig

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