Henri Charles Manguin — an artist who took part in the birth of Fauvism

Henri Charles Manguin was one of the key masters of Fauvism, a painter of light, southern warmth, and liberated color. His paintings are sun-soaked canvases filled with translucent turquoise shadows, gentle brushstrokes, and joyful harmony. Manguin’s lyrical universe is devoid of the dramatic intensity of Expressionism; on the contrary — it is full of calm happiness, femininity, and sensual beauty so characteristic of the South of France. Bright gardens, antique villas, Nice, female figures, bathers — all of this creates a sense of eternal summer.

Showing an early interest in art, Manguin entered Gustave Moreau’s studio in 1894, studying alongside Matisse, Rouault, and Marquet. It was in this environment that he developed his refined sense of color, which later became one of the symbols of Fauvism. Moreau once said of him: “Manguin has color like breath.”

Travel across the Mediterranean coast had a great influence on the artist. Manguin discovered Corsica, Saint-Tropez, and Nice. These journeys shaped his entire body of work: he painted the sea, beaches, and landscapes immersed in serene stillness. Later he became one of the central participants of the Fauvist movement, exhibiting alongside Matisse and Derain.

For Manguin, Fauvism was neither rebellion nor a sharp gesture, but rather a lyrical liberation of color. He avoided aggressive expression, preferring a soft, warm, living palette. His female figures are intimate and tender, always natural and luminous.

We selected 16 paintings created by Manguin between 1903 and 1909 for publication for several reasons:

• This period reflects Manguin’s formation as part of the Fauvist movement and his first experiments with free, daring color.
• During these years, he developed his signature soft and luminous palette, distinguishing him from other Fauves.
• Manguin’s early works are rare on the market and highly valued by collectors focused on the origins of Fauvism.

This gallery features the most significant works of Henri Charles Manguin — from his early Fauvist experiments to later idyllic views of southern France. The paintings are arranged chronologically, allowing viewers to follow the evolution of his style: from denser brushstrokes and strong contrasts to transparent painting of light and air.

Henri Manguin - Nu couché de dos

1903, 24 × 33 cm

Henri Manguin - Femme nue allongée

1904, 30 × 40 cm

Henri Manguin - Paysage de Saint-Tropez

1904, 50 × 61 cm

Henri Manguin - Le repas à la Villa Demière

1905, 38 × 46 cm

Henri Manguin - Le mas à Saint-Tropez

1905, 32 × 40 cm

Henri Manguin - The Prints

1905, 81 × 100 cm

Henri Manguin - Cartel

1906, 65 × 81 cm

Henri Manguin - Femme endormie

1906, 33 × 41 cm

Henri Manguin - La gitane à l’atelier

1906, 46 × 55 cm

Henri Manguin - Amandier en fleurs

1907, 65 × 81 cm

Henri Manguin - Mimosas en fleurs

1907, 46 × 55 cm

Henri Manguin - Nature morte aux fruits

1909, 54 × 65 cm

Henri Charles Manguin left a rich artistic legacy that became an important contribution to European Modernism. He took part in the 1905 Autumn Salon — the legendary exhibition where critics first called Matisse, Derain, Manguin and others “wild beasts,” the Fauves. Despite their reputation as experimenters, Manguin remained devoted to harmony and beauty in art. During World War I he lived in Paris, painting still lifes and interiors, and in the postwar years returned to his sunlit southern palette.

Anatoli Gostev was inspired by the Fauvist painters in works such as “Turn of the Road,” “Autumn,” “Sleeping Barges,” and of course “River Bend.” Gostev followed the well-established path of Fauvism pioneered by André Derain. He once said the following about his painting “River Bend”:

I was simply fantasizing, observing how things unfolded... I painted for myself — to learn to paint this way. When I wake up and begin to open my eyes, I see a beautiful patch of color that immediately sets my day in a pleasant tone. Derain would have liked it.

– Anatoli Gostev (1946–2022)