Description & Technical information

When the critic Louis Vauxcelles named some young artists "fauves" at the Salon d'Automne in 1905, Henri Charles Manguin was exhibiting among them several paintings marked by the explosion of color. It was only ten years after the beginning of his career and yet such a path taken
since he left Gustave Moreau's studio.

Among this outbreak of Fauves painters, who were neither a group, nor a school, one can say that Manguin was a "soft Fauve". Of all his fellow artists, he might  stand out by his stronger proximity with reality.
Indeed, even if he adhered to the vehemence and the savage brutality of pure color, Manguin tempered his works with feeling.

"Après le bain, Jeanne à Saint-Tropez", 1907 is the pure illustration. Manguin uses little here the dissonance claimed by the Fauves. Color, more expressive than constructive is a key element of the quest of pictorial
harmony. This color is rendered by a hatched touch, which would lead to the spread and structured colored plans which characterized Fauvism.

To be noticed, the delicacy of blue and purple tones that notably outlines the model's body, that Manguin delicately uses to show the light  reflection. Light is a key element of Manguin's painting, notably since  its discovery on the shores of the Mediterranean Sea, where he rented
since 1905 the Villa Demière, North of Saint-Tropez.

The Fauves were the first painters to regularly paint under the Mediterranean sun, still ignored from tourism.

But besides the dazzling light, the new harmonies, it is also the themes that the villa inspired him.
Indeed, Manguin painted there fifty works representing Jeanne, his wife. She's painted dressed and undressed, reading or resting...

Manguin captures here an intimate moment. Jeanne is depicted naked and seen from the back in the center of the composition in the simplest way. The purity of the model and the drapery on the left also recall a swing back
to the antique models from the artist in 1907.


Date:  1907
Period:  20th century
Origin:  France
Medium: Oil on canvas
Signature: 

Signed lower right: Manguin


Dimensions: 100 x 81 cm (39³/₈ x 31⁷/₈ inches)
Provenance: Druet Gallery, directly acquired from the artist, November 1908, n°4801.
G.Couturat, Paris, circa 1934 - exchanged by this latter for "Odette devant l'atelier de l'Oustalet (n°1089 of the Catalogue Raisonné), Paris, December 1941.
Madame Henri Manguin, Saint-Tropez, 1949.
Private collection, France.

Literature: Claude Manguin, Henri Manguin : Catalogue Raisonné de l'oeuvre peint,
Ides et Calendes Editions, 2000, illustrated under the n°265 p.123.

Exhibitions: Manguin, Musée Toulouse-Lautrec, Albi, 1957, n°8, dated 1904.
Manguin, Galerie Motte, Genève, 1958, n°12, dated 1903.
Manguin, Galerie L. Blanc, Aix-en-Provence, 1961, n°34.
Manguin, Chapelle du Grand Couvent, Cavaillon, 1974, n°2.
Henri Manguin, Chapelle de la Miséricorde, Saint-Tropez, 1976.

Categories: Paintings, Drawings & Prints