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Siesta (Jeanne in a chaise longue)
Henri Manguin • Painting, 1905, 88.9×116.8 cm
Description of the artwork «Siesta (Jeanne in a chaise longue)»
The scene "Siesta (Jeanne in a Chaise Lounge)" reflects Manguin's fascination with Fauvism, a new movement of the early 20th century, which he founded together with Henri Matisse and Charles Camuon, his classmates at the studio Gustaveva Moreau. The work was written during the period of the artist's stay in the south of France, in Saint-Tropez. It depicts his wife Jeanne, lying in a lounger by the house in the garden overlooking the bay. Mangen was delighted with the beautiful shady trees, under which she could lie alone and serene.
Throughout his marriage, Mangen often wrote to Jeanne. She appears on a lot of works: in scenes from especially intimate, standing naked at the mirror, to the street, blissfully spread out under the canopy of trees. The artist, apparently, adored his wife and - perhaps more often than any other - portrayed her throughout his career.
Henri Mangen, along with Henri Matisse, André Derain, Maurice de Vlaminck, Albert Marque and Charles Camuon was the founder and vivid representative of Fauvism. With Matisse, Camuon and Marche, he was friends since 1895, when all studied at the studio of Moreau at the School of Fine Arts. Such partnership and general theoretical philosophy are reflected in the innovative paintings, which were first presented to the public at the Autumn Salon in Paris in 1905. Then friends and got a nickname fauves, wild, which later became the name of the movement.
Like his colleagues, Mangen was fascinated by the rich colors and light of the southern coast of France. The summer of 1904 Matisse spent in Saint-Tropez, and then in an almost inaccessible fishing village, where he was invited Paul Signac. Visual experiments Matisse with divisionism (pointillism) from the filing of Signac "They reached such heights when the color itself became dynamite", writes Hilary Sperling in his book "Unknown Matisse".
In 1905, Mangan, Marche and Camuon set out on the footsteps of Matisse in Saint Tropez, while he moved east along the coast to Collioure. All of them experimented with flashy colors and non-standard forms. In the autumn of 1905, Mangen exhibited five of his paintings at the Salon, along with the work of his comrades-in the notorious Hall No. 7, nicknamed the "cage of wild beasts." A nickname aux fauves, wild, innovators received from the critic Louis Vauxel, and soon "Fauvism" became an art criticism.
Journalist and writer Jean Paul Crespel said: "What distinguishes [Mangen from Matisse] - is the strength and strength of his mastery of the draftsman, lessons learned from the works of Cezanne, whom he appreciated much earlier than his friends at the studio of Moreau. While other Fauvists admired Gauguin, Mangen realized how much Gauguin was obliged to Cezanne ". The mangenic passion for clearly outlined contours and accents is manifested in the picture "Siesta (Jeanne in a deck chair)" in the outline of the recumbent figure and delicately curved arabesque tree branches.
Author: Vlad Maslov
Throughout his marriage, Mangen often wrote to Jeanne. She appears on a lot of works: in scenes from especially intimate, standing naked at the mirror, to the street, blissfully spread out under the canopy of trees. The artist, apparently, adored his wife and - perhaps more often than any other - portrayed her throughout his career.
Henri Mangen, along with Henri Matisse, André Derain, Maurice de Vlaminck, Albert Marque and Charles Camuon was the founder and vivid representative of Fauvism. With Matisse, Camuon and Marche, he was friends since 1895, when all studied at the studio of Moreau at the School of Fine Arts. Such partnership and general theoretical philosophy are reflected in the innovative paintings, which were first presented to the public at the Autumn Salon in Paris in 1905. Then friends and got a nickname fauves, wild, which later became the name of the movement.
Like his colleagues, Mangen was fascinated by the rich colors and light of the southern coast of France. The summer of 1904 Matisse spent in Saint-Tropez, and then in an almost inaccessible fishing village, where he was invited Paul Signac. Visual experiments Matisse with divisionism (pointillism) from the filing of Signac "They reached such heights when the color itself became dynamite", writes Hilary Sperling in his book "Unknown Matisse".
In 1905, Mangan, Marche and Camuon set out on the footsteps of Matisse in Saint Tropez, while he moved east along the coast to Collioure. All of them experimented with flashy colors and non-standard forms. In the autumn of 1905, Mangen exhibited five of his paintings at the Salon, along with the work of his comrades-in the notorious Hall No. 7, nicknamed the "cage of wild beasts." A nickname aux fauves, wild, innovators received from the critic Louis Vauxel, and soon "Fauvism" became an art criticism.
Journalist and writer Jean Paul Crespel said: "What distinguishes [Mangen from Matisse] - is the strength and strength of his mastery of the draftsman, lessons learned from the works of Cezanne, whom he appreciated much earlier than his friends at the studio of Moreau. While other Fauvists admired Gauguin, Mangen realized how much Gauguin was obliged to Cezanne ". The mangenic passion for clearly outlined contours and accents is manifested in the picture "Siesta (Jeanne in a deck chair)" in the outline of the recumbent figure and delicately curved arabesque tree branches.
Author: Vlad Maslov
