{"product_id":"jeanne-with-parasol-henri-manguin-jeanne-a-lombrelle-cavaliere","title":"Jeanne with Parasol, Henri Manguin, Jeanne à l'ombrelle, Cavalière (1906)","description":"\u003ch2\u003eHenri Manguin – Jeanne with Parasol, Cavalière (1906) Prints\u003c\/h2\u003e\n\n\u003cp\u003eBring the warmth and luminous colour of the French Mediterranean into your home with a \u003cstrong\u003eHenri Manguin Jeanne with Parasol print\u003c\/strong\u003e. Painted in 1906, \u003cem\u003eJeanne à l'ombrelle, Cavalière\u003c\/em\u003e depicts Manguin's wife and favourite model, Jeanne, relaxing beneath trees with a brightly coloured parasol on the Côte d'Azur.\u003c\/p\u003e\n\n\u003cp\u003eAvailable as fine art prints and canvas panels, this beautiful composition combines intimate portraiture with the expressive colour of early Fauvism. The brilliant parasol, cool violet and blue shadows, sunlit figure and glimpses of Mediterranean landscape create a painting filled with warmth, light and the relaxed atmosphere that distinguishes Manguin's finest work.\u003c\/p\u003e\n\n\u003ch3\u003eJeanne – Manguin's Wife and Enduring Muse\u003c\/h3\u003e\n\n\u003cp\u003eFew figures are as closely associated with Henri Manguin's paintings as his wife, \u003cstrong\u003eJeanne Carette Manguin\u003c\/strong\u003e. The couple met while Manguin was still a young art student and married in 1899. Jeanne subsequently became the artist's most important and frequently painted model.\u003c\/p\u003e\n\n\u003cp\u003eManguin portrayed her in an extraordinary variety of circumstances: reading, reclining in gardens, bathing, sitting indoors, standing nude and enjoying the landscapes of southern France. Rather than functioning simply as a professional model, Jeanne was part of the artist's everyday life, giving these paintings an unusually personal quality.\u003c\/p\u003e\n\n\u003cp\u003eIn \u003cem\u003eJeanne with Parasol\u003c\/em\u003e, that intimacy is combined with Manguin's fascination with Mediterranean light. Jeanne is not presented as a formal society portrait but as a figure completely at ease within the landscape.\u003c\/p\u003e\n\n\u003ch2\u003ePainting Style\u003c\/h2\u003e\n\n\u003ch3\u003eFauvist Colour and Mediterranean Light\u003c\/h3\u003e\n\n\u003cp\u003e\u003cem\u003eJeanne à l'ombrelle, Cavalière\u003c\/em\u003e was painted in the spring or summer of 1906, immediately after the explosive emergence of \u003cstrong\u003eFauvism\u003c\/strong\u003e at the 1905 Salon d'Automne.\u003c\/p\u003e\n\n\u003cp\u003eManguin had exhibited there alongside Henri Matisse, André Derain, Maurice de Vlaminck and other artists whose brilliant non-naturalistic colours prompted critic Louis Vauxcelles to describe them as \u003cem\u003eles fauves\u003c\/em\u003e – “the wild beasts”.\u003c\/p\u003e\n\n\u003cp\u003eThe lessons of Fauvism are clearly visible here. Rather than reproducing light through subtle tonal modelling, Manguin expresses it through areas of intense colour. Warm yellows and oranges interact with cooler blues and violets, allowing colour itself to communicate the sensation of sunlight and shade.\u003c\/p\u003e\n\n\u003ch3\u003eThe Parasol as the Centre of the Composition\u003c\/h3\u003e\n\n\u003cp\u003eThe parasol is far more than a decorative accessory. Its intense warm colour becomes one of the principal visual anchors of the painting.\u003c\/p\u003e\n\n\u003cp\u003eSunlight appears to pass through it, creating a glowing area of orange that contrasts strongly with the cooler colours surrounding Jeanne. This relationship between warm and cool tones gives the picture much of its luminosity.\u003c\/p\u003e\n\n\u003cp\u003eThe eye is naturally drawn towards the parasol before moving across Jeanne's figure and into the surrounding trees and distant landscape. Manguin therefore uses colour to control the composition rather than depending solely on conventional perspective.\u003c\/p\u003e\n\n\u003ch3\u003eCavalière and the Côte d'Azur\u003c\/h3\u003e\n\n\u003cp\u003eThe title identifies the setting as \u003cstrong\u003eCavalière\u003c\/strong\u003e, on the Mediterranean coast of southern France. The Côte d'Azur became one of the most important environments in Manguin's life and art during the early twentieth century.\u003c\/p\u003e\n\n\u003cp\u003eSouthern light offered exactly the conditions required for his developing palette. Bright sunshine intensified the colours of vegetation, sea, clothing and skin, encouraging him to move still further away from conventional naturalistic painting.\u003c\/p\u003e\n\n\u003cp\u003eIn \u003cem\u003eJeanne with Parasol\u003c\/em\u003e, glimpses of blue Mediterranean water and the surrounding trees establish the setting without overwhelming the figure. Landscape and portrait become part of the same colourful experience.\u003c\/p\u003e\n\n\u003ch3\u003eWarm Light and Cool Shadow\u003c\/h3\u003e\n\n\u003cp\u003eOne of the most sophisticated aspects of the painting is Manguin's treatment of shadow.\u003c\/p\u003e\n\n\u003cp\u003eTraditional academic painting frequently used darker versions of local colour to indicate areas away from the light. Manguin instead introduces cool blues and violets, allowing shadows to become expressive coloured passages in their own right.\u003c\/p\u003e\n\n\u003cp\u003eThese cooler areas contrast with the golden and orange notes of the sunlit figure and parasol. The effect is not merely decorative: the juxtaposition of complementary temperatures creates a convincing sensation of strong southern sunlight.\u003c\/p\u003e\n\n\u003cp\u003eThis balance between observational painting and expressive colour demonstrates why Manguin's work occupies such an interesting position between Impressionism and Fauvism.\u003c\/p\u003e\n\n\u003ch3\u003eA More Intimate Side of Fauvism\u003c\/h3\u003e\n\n\u003cp\u003eManguin's approach to Fauvism differs noticeably from the more aggressive colour experiments of some of his contemporaries.\u003c\/p\u003e\n\n\u003cp\u003eWhere André Derain and Maurice de Vlaminck could use violent contrasts to transform landscapes, Manguin frequently applied brilliant colour to subjects associated with affection, leisure and family life.\u003c\/p\u003e\n\n\u003cp\u003eHis paintings of Jeanne are particularly characteristic. Their colour may be radical, but their emotional atmosphere is usually warm and tranquil.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eJeanne with Parasol\u003c\/em\u003e therefore demonstrates why Manguin is sometimes regarded as one of the most lyrical of the Fauvist painters. Colour is liberated from strict naturalism without sacrificing tenderness or visual harmony.\u003c\/p\u003e\n\n\u003ch3\u003eJeanne with Parasol Wall Art for Modern Interiors\u003c\/h3\u003e\n\n\u003cp\u003eA \u003cstrong\u003eHenri Manguin Jeanne with Parasol wall art print\u003c\/strong\u003e brings together several qualities that work particularly well in contemporary interiors: expressive colour, a recognisable figure, Mediterranean scenery and a relaxed outdoor atmosphere.\u003c\/p\u003e\n\n\u003cp\u003eThe combination of orange, yellow, blue, violet and green provides substantial colour while remaining harmonious. Against white, cream, putty, beige or warm-grey walls, these tones can create a sophisticated focal point without appearing excessively bold.\u003c\/p\u003e\n\n\u003cp\u003eThe painting is particularly well suited to Scandinavian, contemporary, Mediterranean, eclectic and mid-century modern interiors. Its intimate subject also makes it an attractive choice for bedrooms and quieter living spaces as well as larger living rooms and dining areas.\u003c\/p\u003e\n\n\u003cp\u003eDisplayed above a sofa, console table, sideboard or bed, a \u003cstrong\u003eManguin Jeanne print\u003c\/strong\u003e combines decorative appeal with an important connection to the history of Fauvism. It can also be paired with works by Henri Matisse, André Derain and Albert Marquet in a gallery wall devoted to early twentieth-century French modernism.\u003c\/p\u003e\n\n\u003ch2\u003eAbout Henri Manguin\u003c\/h2\u003e\n\n\u003cp\u003e\u003cstrong\u003eHenri Manguin\u003c\/strong\u003e (1874–1949) was a French painter and one of the artists closely associated with the development of Fauvism.\u003c\/p\u003e\n\n\u003cp\u003eBorn in Paris, Manguin studied at the École des Beaux-Arts under the influential teacher Gustave Moreau. His fellow students included Henri Matisse and Albert Marquet, artists with whom his career remained closely connected during the formative years of modern French painting.\u003c\/p\u003e\n\n\u003cp\u003eManguin initially absorbed influences from Impressionism before developing an increasingly brilliant palette. At the 1905 Salon d'Automne, his work appeared alongside paintings by Matisse, Derain and other artists whose unconventional colour led to the creation of the term Fauvism.\u003c\/p\u003e\n\n\u003cp\u003eSouthern France became particularly important to Manguin. Its sunlight, vegetation and Mediterranean coastline provided ideal subjects for his warm and expressive approach to colour.\u003c\/p\u003e\n\n\u003cp\u003eHis wife Jeanne was equally central to his art. Manguin painted her repeatedly throughout their marriage, creating an extensive visual record of family life, travel and the landscapes they shared.\u003c\/p\u003e\n\n\u003cp\u003eToday, \u003cstrong\u003eHenri Manguin prints\u003c\/strong\u003e are admired for their brilliant colour, Mediterranean atmosphere and distinctive combination of modernist experimentation with warmth and intimacy.\u003c\/p\u003e","brand":"OnTrendAndFab","offers":[{"title":"8x10 inches \/ smooth art paper","offer_id":42204003238079,"sku":null,"price":24.95,"currency_code":"EUR","in_stock":true},{"title":"8x10 inches \/ Premium Fine Art Paper","offer_id":42204003270847,"sku":null,"price":27.95,"currency_code":"EUR","in_stock":true},{"title":"8x10 inches \/ rolled canvas with extra border","offer_id":42204003303615,"sku":null,"price":44.95,"currency_code":"EUR","in_stock":true},{"title":"8x10 inches \/ lustre photo 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