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Lot 29

In 1894 Henri Manguin frequented the studio of the renowned Symbolist Gustave Moreau, where he befriended Matisse, Marquet, Camoin and Valtat among other young artists. Between 1895 and 1897, their collaboration represented the Parisian avant-garde of the time and they became known as the Moreau group. In June 1899, Henri Manguin married Jeanne Carette, who became his main model and subject of many of his paintings. Together they had three... In 1894 Henri Manguin frequented the studio of the renowned Symbolist Gustave Moreau, where he befriended Matisse, Marquet, Camoin and Valtat among other young artists. Between 1895 and 1897, their collaboration represented the Parisian avant-garde of the time and they became known as the Moreau group. In June 1899, Henri Manguin married Jeanne Carette, who became his main model and subject of many of his paintings. Together they had three children and lived in a studio-house on the rue Boursault in Paris. Manguin's studio rapidly became a gathering place for intellectuals and artists and an axis in the development of Fauvism which was to reach its height in 1904-05.

Manguin participated in the Fauve movement, which was not a school but a group of like-minded experimental painters who captured at that moment in time a spirit of fundamental and vital change in painting. However, he also remained profoundly influenced by the grandfather of Modern art, Paul Cézanne. The most appealing aspect of Manguin's painting lies in his luxuriant sense of color. Reviewing an exhibition held at Galerie Druet in 1910, Guillaume Apollinaire, the great poet and aficionado of avant-garde painting, declared, "Monsieur Manguin is a voluptuous painter. Colourist that he is, Manguin confines himself to the expression of contrasts that produce flashes of half-livid, half-flesh- coloured light" (quoted in L. C. Breunig (ed.), Apollinaire on Art, New York, 1972, p. 100).

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