The Prints, 1905

Henri Manguin

Las estampas

Manguin, Henri

París, 1874 - Saint-Tropez, 1949

The Prints, 1905

© Henri Manguin, VEGAP, Madrid, 2015

Signed lower right: ''Manguin''.
Carmen Thyssen-Bornemisza Collection on loan to the Thyssen-Bornemisza Museum, Madrid

Oil on canvas

81 x 100 cm

CTB.1997.35

Artwork history

  • Ambroise Vollard, acquired from the artist, París, 1906

  • Mr. Magallon d´Angers Collection, Marsella, 1910

  • Motte Gallery Auction, lot 50 bis, Geneva, June 1967

  • Lucile Manguin Collection, France

  • Private Collection, France, 1989

  • Francis Briest, lot 17, París, December 13,  1997

  • Carmen Thyssen-Bornemisza Collection

1906

Société des Artistes Indépendants, 22e exposition, París, Serres de la ville de Paris, n. 3246

1910

Manguin, París, Galerie Druet, n. 27, lám.

1926

Trente ans d'Art Indépendant. Rétrospective de 1884 à 1914 de la Société des Artistes Indépendants, París, Galeries Nationales du Grand Palais, n. 1657. Fechado como 1904

1967 - 1968

Autour du Fauvisme. Valtat et ses amis, Charleroi, Palais des Beaux-Arts, n. 43, lám. Fechado como 1906

1968

Manguin, Honfleur, Grenier à Sel, n. 7, lám.

1969

Henri Manguin, Düsseldorf, Staatliche Kunsthalle, n. 13

1969

Henri Manguin, plus de cent cinquante oeuvres, Niza, Palais de la Méditerranée, n. 8, lám.

1969

Manguin, La Rochelle, Musée des Beaux-Arts, n. 5, lám.

1970

Henri Manguin, Berlín, Neuer Berliner Kunstverein, n. 12

1974 - 1975

Manguin in America, Nueva York; Los Ángeles; Tucson, The University of Arizona Museum of Art; Athens; San Antonio; Wichita; Bloomington, n. 9, pp. 163-164, lám. p. 75

1976

Centenaire Henri Manguin, París, Galerie de Paris, n. 16, lám.

1978

Paris, patrie des peintres, París, Forum des Halles, p. 34, lám.

1980

Henri Manguin, Tokio, Isetan Museum of Art; Yamaguchi, Yamaguchi Prefectural Museum of Art; Fukushima, Iaakishi Cultural Center; Tamagawa, Tamagawa Takasimaya Art Galleries, n. 16, n.p., lám. Como: "Collection particulière, Paris"

1983

Manguin parmi les Fauves, Martigny, Fondation Pierre Gianadda, n. 6, p. 46, lám. Como: "Collection Lucile Manguin"

1988 - 1989

Henri Manguin, París, Musée Marmottan, n. 15, pp. 126-127, lám.

1989

Manguin, Friburgo, Musée d´Art et d´Histoire, n. 15, lám.

1998 - 1999

Masterworks from the Carmen Thyssen-Bornemisza Collection, Tokio, Tokyo Metropolitan Art Museum; Takaoka, Takaoka Art Museum; Nagoya, Matsuzaka Art Museum; Sendai, Miyagi Museum of Art, n. 15

1999

Do impresionismo ó fauvismo: A pintura do cambio de século en París. Colección Carmen Thyssen-Bornemisza, Santiago de Compostela, Centro Galego de Arte Contemporánea, n. 37, pp. 112-114

1999 - 2000

Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, Barcelona, Centre Cultural Caixa Catalunya, p. 132

2000

Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, México, DF, Museo del Palacio de Bellas Artes, p. 120

2000

Del post-impresionismo a las vanguardias. Pintura de comienzos del siglo XX en la Colección Carmen Thyssen-Bornemisza, Valencia, IVAM Centre Julio González, n. 17, p. 62

2000 - 2001

La Révolte de la couleur. De l'impressionnisme aux Avant-gardes. Chefs-d'oeuvre de la Collection Carmen Thyssen-Bornemisza, Bruselas, Musée d'Ixelles, n. 27, pp. 84-86

2002

Il trionfo del colore. Collezione Carmen Thyssen-Bornemisza. Monet, Van Gogh, Gauguin, Toulouse-Lautrec, Matisse, Kandinsky, Roma, Palazzo Ruspoli, pp. 184-186

2012 - 2013

Gauguin y el viaje a lo exótico, Madrid, Museo Thyssen-Bornemisza, n. 62, lám. p. 189

2013 - 2014

Matisse and the Fauves, Viena, Albertina, n. 12, p. 321, lám. p. 47

2014

L'ideal en el paisatge. De Meifrèn a Matisse i Gontxarova. Col·lecció Carmen Thyssen, Sant Feliu de Guíxols, fundació Privada Centre d'Art Col·lecció Catalana de Sant Feliu de Guíxols, p. 106, lám. p. 107

2017 - 2018

Manguin, la volupté de la couleur. Musée des impressionnismes Giverny & Fondation de l'Hermitage à Lausanne. Cat. 25, p. 63. Cat. 19, p. 54.

2019 - 2020

Inspiration Matisse. Kunsthalle Mannheim, Kunsthalle Mannheim Foundation, Germany. Cat. 57, p. 107.

  • -Le Crapouillot, marzo 1926 (repr. cover).

  • -Cogniat, R.: “Henri Manguin: la peinture à l’état pur”.  Galerie des Arts. 1 abril 1969, p. 23, lám.

  • -Manguin, Lucile et Claude: Henri Manguin. Catalogue raisonné de l’oeuvre peint. Neuchatel, Ides et Calendes, 1980, n. 135, pp. 80-81, il. p. 81.

  • -Art Moderne. [Auction Cat.]. París, Francis Briest, December 13, 1997, n. 17, pp. 30-33, lám. p. 31.

  • -Monneret, Jean: Catalogue raisonné du Salon des Indépendants (1884-2000). Les Indépendants dans l’histoire de l’art. París, Editions Eric Koehler, 2000, p. 203.

  • -Lobstein, Dominique: Dictionaire des Indépendants (1884-1914). París, L’echelle de Jacob, 2003, t. II, p. 1137.

  • -Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, p. 262, lám. p. 263 [Sheet by Tomàs Llorens]

  • -Cézanne to Picasso. Ambroise Vollard, Patron of the Avant-Garde. Rabinow, Rebecca A. (editor). [Exhib. Cat.]. New York, The Metropolitan Museum of Art, 2006, p. 281, lám. n. 284.

  • -Alarcó, P. y Borobia, M. (eds.): Guía de la colección. Museo Thyssen-Bornemisza. Madrid, Museo Thyssen-Bornemisza, 2012, p. 287, lám.

  • -Alarcó, Paloma (ed.): Gauguin y el viaje a lo exótico [Exhib. Cat.  2012-2013] Madrid, Museo Thyssen, 2012, p. 178-179, lám. p. 189.

  • -Widauer, Heinz y Grammont, Claudine (eds.): Matisse and the Fauves [Exhib. Cat. Albertina 2013-2014]. Colonia, Wienand, 2013 , cit. p. 38.

  • -L’ideal en el paisatge. De Meifrèn a Matisse i Gontxarova. Col·lecció Carmen Thyssen, Sant Feliu de Guíxols, fundació Privada Centre d’Art Col·lecció Catalana de Sant Feliu de Guíxols, 2014, p. 106, lám. p. 107 (Exhib. Cat.).

  • -Manguin, la volupté de la couleur. Musée des impressionnismes Giverny & Fondation de l’Hermitage à Lausanne. [Marina Ferretti, Exhib. Cat. July 14 – November 5,  2017-Giverny]. 2017, Cat. 25, p. 63. Manguin, la volupté de la couleur. Gallimard. Fondation de l´Hermitage, Lausanne & Musée des impressionnismes Giverny.  [Marina Ferretti, . Exhib. Cat. June 22-October 28, 2018-Lausanne].Cat. 19, p. 54.

  • -Inspiration Matisse.  Kunsthalle Mannheim, Alemania. [Exhib. Cat.. Kunsthalle Mannheim. Curators: Kropmanns, P. & Lorenz, U.],  München, Ed. Prestel-Verlag, Kunsthalle Mannheim Foundation, 2019. Cat. 57, p. 107.

     

Expert report

The Prints is probably one of the most ambitious paintings Manguin executed in 1905. The composition’s complexity is not apparent at first sight. Two women seated on a couch or a narrow bed, one dressed, the other naked, look at a book with colour illustrations in an interior lavishly decorated with hangings; Manguin has composed the scene by sitting them opposite each other. In order for the book to be their common focus of attention, they both have to turn their bodies and heads; the torsion is greater in the naked woman, of whom we see the back and the profile of the face. Both figures represent the same model: Jeanne, the artist’s wife.

Ever since Delacroix’s Women of Algiers, a composition with women seated in an interior was inevitably a challenge for a French painter, particularly if he was, as in the case of Manguin, an alert reader (and friend) of Paul Signac. Yet, although the composition of The Prints does not ignore Delacroix’s precedent, it responds to stimuli closer in time, particularly that of Matisse. After the scandal of the fauves’room in the Salon d’Automne, Matisse had rented a studio in Rue de Sèvres where he started working on Le Bonheur de vivre. The Prints shows similar concerns to those present in Matisse’s paintings during that autumn, in which Manguin was very close to him. It also shows, through Matisse, a relation with Ingres, whose retrospective exhibition (68 works), held in the same Salon d’Automne where the controversy took place, had been a revelation for the young avant-garde artists and the main stimulus for the beginning of Le Bonheur de vivre. The nude in The Printsclearly echoes the one playing the zither, seen from the back, that is depicted in the foreground of The Turkish Bath, itself the transposition of an archetype of which the first example is the famous Bather of Valpinçon, in the Louvre. Yet, in Ingres’ rendering, more important than the references to single figures are the aspects of composition and space in The Prints: the exaggerated deformations of the foreshortenings and the spatial ambiguity in the interaction of the bodies in order to create an effect of depth without perspective are stylistic features that Matisse and Manguin discovered in the author of The Turkish Bath.

These are so far the affinities between Manguin and Matisse in the autumn of 1905. From here on, The Prints also shows the beginning of a profound divergence. Its most evident symptom is Gauguin’s influence in Manguin’s painting. The above-mentioned nude seen from the back owes much to Ingres, but it also clearly recalls Gauguin, particularly his nude in Woman by the Sea (Vahine no te miti) of 1892, a painting included in the Gauguin exhibition organised by Durand-Ruel in 1893 which had made a deep impression on Matisse and Manguin, who were then studying at the Académie Moreau. The same subject of women seated opposite each other is to be found very often in Gauguin’s paintings of Tahiti, with an effect on the construction of the pictorial space very similar to the one attempted by Manguin in The Prints. Gauguin’s influence can also be detected in the choice of colours, in his depiction of light and shadow through chromatic contrasts in the feminine figures, and in the background fabrics, whose arabesques, iridescences and reflections floating in space evoke, with Proustian efficiency, an atmosphere of intimacy.

To conclude, the subject of The Prints recalls Bonnard and Vuillard, Nathanson andLa Revue Blanche, or Degas; attitudes that combine modernity with a radical and intransigent sensuality. It is not surprising that, strengthened by such a close and rich artistic past, Manguin refused to follow Matisse along the path of dematerialisation and violence that the master from Cateau-Cambresis would take the following year.

Tomàs Llorens