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Oil on canvas, signed. Painted 1917
Canvas size: 21.5 x 15in / 55 x 38cm
Frame size: 27.5 x 21in / 70 x 53cm
Henri Manguin’s still life paintings are characterized by their bold use of color and expressive brushwork. He often depicted everyday objects, such as flowers, fruits, and table settings, in a simplified and decorative manner. His works are known for their vibrant hues and flattened forms, which create a sense of dynamism and energy.
Gasen collection, Lausanne (acquired from the artist, August 1918).
Oscar and Nicole Ghez, Geneva (by 1964)
Christie’s, New York, 11 May 1994, lot 210.
Private Collection
Musée Château d’Annecy, Maîtres connus et méconnus de Montmartre à Montparnasse, June-September 1964, no. 55 (illustrated).
Vevey, Musée Jenisch, De Vallotton à Desnos, July-October 1965, p. 20, no. 80 (illustrated; dated 1905).
Charleroi, Palais des Beaux-Arts, Autour du Fauvisme, Valtat et ses amis, November 1967-December 1968, no. 39 (illustrated; dated 1905).
Düsseldorf, Städtische Kunsthalle, Henri Manguin: Erste deutsche retrospektive, October-December 1969, p. 21, no. 26 (dated 1905).
Turin, Galleria d’arte Pirra, Il movimento Fauve: L’evoluzione pittorica degli interpreti dal 1905 al 1933, April 1973, no. 31 (illustrated; dated 1905 and with inverted dimensions).
Geneva, Musée de l’Athénée, Femmes et fleurs, July-September 1988, no. 95 (titled Fleurs; illustrated in color on the title page).
L. and C. Manguin, Henri Manguin: Catalogue raisonné de l’oeuvre peint, Neuchâtel, 1980, p. 209, no. 577 (illustrated).
To enquire about this painting, please call us on +44 (0)20 7968 1830 or email us at enquiries@willowgallery.com. Alternatively use the contact form below.
Title: Anémones dans un vase blanc Artist Name: Henri ManguinHenri Manguin, a prominent figure in the Fauvist movement, was born on March 23, 1874, in Paris, France. His artistic journey began in 1890 when he enrolled at the École des Beaux-Arts, where he studied under Gustave Moreau. Moreau’s influence, along with the works of other Symbolist artists, would significantly shape Manguin’s early style.
Manguin’s artistic breakthrough came in 1905 when he exhibited his work alongside other Fauvist painters at the Salon d’Automne. This exhibition, which shocked the Parisian art world with its bold use of color and expressive brushwork, firmly established Manguin as a key figure in the movement. His paintings, characterized by vibrant hues, simplified forms, and a focus on light and atmosphere, captured the essence of Fauvism’s revolutionary approach to art.
Manguin’s work often depicted scenes of domestic life, landscapes, still lifes and portraits. He was particularly drawn to the beauty of the French Riviera, where he spent many summers.
His paintings of the coastal towns and villages, such as Cassis and Saint-Tropez, convey a sense of tranquility and joy. He also excelled at capturing the intimacy of family life, often portraying his wife, Jeanne, and their children in tender and loving moments.
One of Manguin’s most striking characteristics as a painter was his ability to balance bold color with delicate nuances. He often employed a limited palette of primary colors, which he applied with broad, expressive brushstrokes. This technique allowed him to create a sense of energy and vitality in his work, while also maintaining a sense of harmony and balance.
Manguin’s work was well-received by critics and collectors alike. He exhibited regularly in Paris and abroad, and his paintings were acquired by major museums, including the Musée d’Orsay in Paris and the Metropolitan Museum of Art in New York. Despite his success, Manguin remained a modest and private individual. He continued to paint prolifically throughout his life, always striving to push the boundaries of his artistic expression.
Henri Manguin died on September 25, 1949. His contributions to the Fauvist movement and his unique artistic vision have secured his place as one of the most important French painters of the early 20th century.
