Post #635 • September 29, 2005, 12:50 PM • 47 Comments
As I said earlier, "Right under the Sun: Landscape in Provence, from Classicism to Modernism (1750-1920)" at the Montreal Museum of Fine Arts had all the usual ringers who painted the landscape in the south of France: Cézanne, Monet, Renoir, Van Gogh. And although my admiration for Cézanne increases upon every review, I especially noticed some next-tier work, and I'm going to take a day or three to go through it. Entry one: Henri Manguin.
Manguin studied alongside Matisse in the studio of Gustave Moreau. Manguin's efforts towards the Fauvist project shows him to have too great a love for structure to do what Matisse did with color, but that structure glows with its own kind of virtue. Compositionally, this painting swings. The underpainting, something that we don't associate with Fauvism, pokes through with little assertions of Venetian red all over the painting. Manguin capitalizes on one of the early discoveries of Fauvism, that simplified forms could be made to take on a massive, heavier-than-life quality that works well with painting's ability to create illusionistic form.