Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 56 værker af Louis Anquetin i vores katalog
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The Peasant (1886) er det maleri af Louis Anquetin, der fanger flest blikke. Derefter falder blikket på Girl Reading a Newspaper (1890) og Woman at the Champs-Élysées by Night (1891). Blandt de 56 værker af Louis Anquetin i vores katalog er disse 53 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
An elderly man occupies the center of this oil on canvas work, positioned against a backdrop of a grassy field and a single tree trunk. He faces the viewer directly, his figure anchored by the verticality of the tree to his left. The man holds a cane, a detail that suggests his advanced age. At his feet, several apples are scattered across the ground, indicating an orchard or garden setting.…
In this intimate portrait, titled Girl Reading a Newspaper, the artist Louis Anquetin captures a quiet moment of private contemplation. The subject appears in profile, her gaze cast downward as she engages with her newspaper and her own reflection. There is a sense of stillness in her posture, a pause in the rush of daily life that invites the viewer to wonder what thoughts occupy her mind. The scene feels…
Louis Anquetin captures a solitary moment in the nocturnal pulse of Paris in his work, Woman at the Champs-Élysées by Night. Created about 1890 - 1891, the painting fixes a single figure within the urban shadows. An extravagantly dressed lady moves through the scene, her presence defined by the artificial glow of streetlights. She walks alone along the grand boulevard, a quiet silhouette against the city's evening light.
The gaze of the viewer meets the quiet presence of Portrait of Madeleine Bernard, a work that captures a singular moment of stillness. Painted by Louis Anquetin, this oil on canvas presents a woman who seems to exist in a space of soft shadows and muted tones. The subject, Madeleine Bernard, looks toward us with an expression that remains poised and enigmatic, her features emerging from a dark, textured environment.
In "Self-portrait with a Smoking Pipe" by Louis Anquetin, the artist presents himself in a medium close-up that captures the head and shoulders of a man with a full brown beard. He sits slightly off-center, meeting the viewer's gaze with a slight smile while holding a smoking pipe in his mouth. A bright white top hat rests upon his head, decorated with a cluster of red berries and green leaves…
In this work, titled Le Pont Neuf, Paris, we encounter a significant piece from 1889 by the French painter Louis Anquetin. The canvas presents a view of the historic bridge, rendered with a specific intensity that marks a departure from the more traditional landscape approaches of the era. It is a work that captures a particular moment in the development of a highly individualistic style.
In "The Theatre Foyer" by Louis Anquetin, a crowded assembly of elegantly dressed figures gathers within the dim confines of a café or theater. The composition feels tight and slightly chaotic, pressing the subjects into a dense, intimate arrangement. People lean toward one another in quiet conversation or remain still, observing the movement of the crowd. This social intersection creates a sense of shared, fleeting moments caught in a shallow…
In Woman with Lilacs by Louis Anquetin, the composition centers on a seated young woman who occupies the majority of the frame. She is positioned amidst a large bouquet of white lilies that act as a secondary focal point within the arrangement. The subject matter focuses on the intersection of femininity and nature, utilizing the lilies as emblems of purity and innocence. The arrangement of the flowers and the posture…
In this 1893 oil portrait, Louis Anquetin captures the likeness of Yvette Guilbert. She was a French cabaret singer and actress of the Belle Époque, a figure of the Parisian stage. The canvas holds her in a moment of quietude, a departure from the bright lights of the music halls. Her presence is a study in stillness.
In the heart of late nineteenth-century Paris, amidst the gaslit streets and the rhythmic pulse of urban expansion, Louis Anquetin captured a fleeting moment of metropolitan life in Avenue de Clichy Five O'Clock in the Evening. This work acts as a window into a world caught between the fading light of day and the burgeoning energy of the night. Rendered in a striking monochromatic palette, the painting strips away the…
Henri Samary1880 · Musée d'Orsay
12
Henri de Toulouse Lautrec1886
13
Woman with Hat1890
14
Doctor Henri Bourges1890
15
The Harvest1887
16
Kiosk on the Boulevard Clichy1887
17
Man sheltering beneath a tree1887
18
In the Street1890
19
Woman with Umbrella1891
20
Jeune femme demi nue1890
21
Emile Bernard1887
22
Equestrian Self Portrait1887
23
Le rond point des Champs Élysées1889
24
Promenade1892
25
Femme au bord de l'eau1889
26
The Pont de l'Europe1889
27
In the Street1890
28
Girl Reading a Newspaper1890
29
The Elegant Profile of Bal Mabille1888 · Art Institute of Chicago
30
Program for The Retaliation (Le Talion), The Cage (La Cage), Those who Remain (Ceux qui restent), and Fortune from The Beraldi Album of Theatre Programs1898
31
Two Studies for 'The Three Graces'1899 · National Gallery
32
The Races1901
33
The Finish of the Horse Race1899
34
Two Bathers
35
Self-portrait at the Easel
36
LA COURSE
37
PROFIL D'ENFANT ET ETUDE DE NATURE MORTE
38
PORTRAIT DE PAUL NAPOLEON ROINARD
39
FEMME DANS LA RUEMusée d'Orsay
40
Village1932
41
Lili Grenier1929
42
Femme a la Voilette1891
43
Portrait of a Young Woman with Long Hair1890
44
Jumping the Hedge
45
Mare and her foal
46
Bouquet and flower study
47
Still life with Camelias
48
Etude d'élégante, face et profil
49
La Rieuse
50
Woman with a Cat
51
Femme avec un chat
52
Aux courses
53
L'IntÉrieur de chez Bruant le Mirliton1886
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Louis Anquetin | Malerier fra denne liste |
|---|---|---|---|
 Musée d'Orsay |
Paris | 2 | Henri Samary, FEMME DANS LA RUE |
 Tate Gallery |
London | 1 | Girl Reading a Newspaper |
 Van Gogh Museet |
Amsterdam | 1 | Woman at the Champs-Élysées by Night |
 Rhode Island School of Design Museum of Art |
Providence | 1 | Portrait of Madeleine Bernard |
 Musée Toulouse-Lautrec |
Albi | 1 | Portrait of a Yvette Guilbert |
 Wadsworth Atheneum |
Hartford | 1 | Avenue de Clichy Five O'Clock in the Evening |
 Art Institute of Chicago |
Chicago | 1 | The Elegant Profile of Bal Mabille |
 National Gallery |
London | 1 | Two Studies for 'The Three Graces' |
Vælg et årti for at se det originale værk, der definerer det.
An elderly man occupies the center of this oil on canvas work, positioned against a backdrop of a grassy field and a single tree trunk. He faces the viewer directly, his figure anchored by the verticality of the tree to his left. The man holds a cane, a detail that suggests his advanced age. At his feet, several apples are scattered across the ground, indicating an orchard or garden setting.…
In this intimate portrait, titled Girl Reading a Newspaper, the artist Louis Anquetin captures a quiet moment of private contemplation. The subject appears in profile, her gaze cast downward as she engages with her newspaper and her own reflection. There is a sense of stillness in her posture, a pause in the rush of daily life that invites the viewer to wonder what thoughts occupy her mind. The scene feels…
The Peasant (1886). Derefter følger Girl Reading a Newspaper (1890) og Woman at the Champs-Élysées by Night (1891).
25 år gammel: The Peasant er fra 1886, og Louis Anquetin blev født i 1861.
The Peasant, Girl Reading a Newspaper, Woman at the Champs-Élysées by Night, Portrait of Madeleine Bernard, Self-portrait with a Smoking Pipe, Le Pont Neuf, Paris, The Theatre Foyer, Woman with Lilacs, Portrait of a Yvette Guilbert og Avenue de Clichy Five O'Clock in the Evening. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 56 værker af Louis Anquetin, dateret fra 1880 til 1932.
Primært i Musée d'Orsay (Paris), Tate Gallery (London) og Van Gogh Museet (Amsterdam). Museumslisten ovenfor viser dem alle.
I 1890s: 20 af de 53 værker på denne side blev skabt dengang, herunder Girl Reading a Newspaper.
På denne side er det tidligste Henri Samary (1880) og det seneste Village (1932).
Woman (7), Women (4) og Parisian scene (3), fordelt på de 53 værker på denne side.
Oil On Canvas, for 5 af de 53 værker på denne side.
Impressionism og Post-impressionism, baseret på originalerne på denne side.
Henri Samary og FEMME DANS LA RUE: Musée d'Orsay, Paris har 2 af værkerne på denne side.
Født i Etretats kystnære atmosfære i Normandiet i 1861, trådte Louis Émile Anquetin frem som en enestående kraft i det turbulente landskab af fransk maleri i slutningen af det nittende århundrede. Hans kunstneriske rejse var aldrig blot en efterligning; tværtimod var den en dybdegående udforskning af, hvordan tradition kunne dekonstrueres og genopbygges gennem en moderne linse. Selvom hans tidlige år var præget af impressionismens spirende lys, besad Anquetin en medfødt rastløshed, der drev ham væk fra atmosfærens flygtige effekter mod noget mere strukturelt, mere permanent og dybt symbolsk. Sammen med sin samtidige Henri de Toulouse-Lautrec navigerede han gennem Paris' livlige og ofte kaotiske kunstkredse, formet af Fernand Cormons mentorskab, men han bevarede altid en stilistisk uafhængighed, som i sidste ende skulle redefinere grænserne for moderne komposition.
Det mest revolutionerende kapitel i Anquetins karriere indtraf med fødslen af cloisonnisme, en teknik han pionerede i samarbejde med Émile Bernard. Denne bevægelse søgte at forkaste impressionismens bløde, sammenflydende kanter til fordel for en dristig, grafisk klarhed, inspireret af de skarpe konturer i glasmosaik og den elegante enkelhed i japanske ukiyo-e-træsnit. Ved at anvende flade områder af mættet farve, indrammet af tunge sorte konturer, skabte Anquetin værker med en næsten skulpturel tyngde. Denne metode gjorde mere end blot at indfange en scene; den destillerede virkeligheden til dens mest essentielle, symbolske elementer og skabende et visuelt sprog, der føltes både antikt og avantgarde. Gennem dette perspektiv blev lærredet et rum for bevidst design snarere end blot et vindue mod naturen.
Som hans karriere modnedes, gennemgik Anquetins æstetik en fascinerende metamorfose, hvor han bevægede sig væk fra cloisonnismens flade planer mod en dyb ærefrygt for den rubensske tradition. Dette skifte repræsenterede en tilbagevenden til de gamle mestres storhed, karakteriseret ved omfavnelsen af komplekse allegoriske fortællinger og en omhyggelig opmærksomhed på anatomiske og kompositionelle detaljer. Han begyndte at væve den strukturelle dristighed fra sine tidligere eksperimenter sammen med den svungne, muskuløse energi fra Peter Paul Rubens. I mesterværker som “Rinaldo og Armida” kan man vidne til denne åndeløse syntese: barokkens følelsesmæssige dybde og klassiske drama, der møder den moderne sanselighed hos en maler, der forstod linjens magt.
Anquetins evne til at navigere i disse vidt forskellige verdener—den flygtige energi fra det parisiske gadeliv og den tidløse tyngde fra historiske myter—er det, der sikrer hans plads i kunsthistorien. Hans værker indfanger ofte pulsen i en verden i forandring, som i det stemningsfulde “Avenue de Clichy: Fem om aftenen”, hvor Paris' travle natlige energi skildres med en elegant, næsten filmisk ynde. Uanset om det er gennem den intime, delikate gengivelse af et “Portræt af en ung kvinde med langt hår” eller den dristige, grafiske styrke i hans mere eksperimenterende værker, forbliver Anquetins oeuvre et vidnesbyrd om stilistisk evolutionens kraft. Han står tilbage som en vital skikkelse for enhver samler, der søger at forstå broen mellem den klassiske fortid og modernismens daggry.
