Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 56 teost Louis Anquetin meie kataloogis
Lühidalt
The Peasant (1886) on Louis Anquetin maalide kõige rohkem tähelepanu pälva teos. Pärast seda suunatakse pilk Girl Reading a Newspaper (1890) ja Woman at the Champs-Élysées by Night (1891) suunas. Meie kataloogis olevatest Louis Anquetin 56 teosest on need 52 kõige kuulsumat, millist igaüks on esitatud koos aasta, muuseumi ja põhjusega, miks teos on püsiv.
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
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Woman with Hat1890
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Doctor Henri Bourges1890
15
The Harvest1887
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Kiosk on the Boulevard Clichy1887
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Man sheltering beneath a tree1887
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In the Street1890
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Woman with Umbrella1891
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Jeune femme demi nue1890
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Emile Bernard1887
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Equestrian Self Portrait1887
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Le rond point des Champs Élysées1889
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Promenade1892
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Femme au bord de l'eau1889
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The Pont de l'Europe1889
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In the Street1890
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Girl Reading a Newspaper1890
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The Elegant Profile of Bal Mabille1888 · Art Institute of Chicago
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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
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The Races1901
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The Finish of the Horse Race1899
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Two Bathers
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Self-portrait at the Easel
35
LA COURSE
36
PROFIL D'ENFANT ET ETUDE DE NATURE MORTE
37
PORTRAIT DE PAUL NAPOLEON ROINARD
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FEMME DANS LA RUEMusée d'Orsay
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Village1932
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Lili Grenier1929
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Femme a la Voilette1891
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Portrait of a Young Woman with Long Hair1890
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Jumping the Hedge
44
Mare and her foal
45
Bouquet and flower study
46
Still life with Camelias
47
Etude d'élégante, face et profil
48
La Rieuse
49
Woman with a Cat
50
Femme avec un chat
51
Aux courses
52
L'IntÉrieur de chez Bruant le Mirliton1886
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 7 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Louis Anquetin teosid | Selle nimekirja maalid |
|---|---|---|---|
 Musée d'Orsay |
Pariis | 2 | Henri Samary, FEMME DANS LA RUE |
 Tate Gallery |
London | 1 | Girl Reading a Newspaper |
 Van Gogh muuseum |
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 |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
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). Järgnevad Girl Reading a Newspaper (1890) ja Woman at the Champs-Élysées by Night (1891).
25 aastat vanus: teos The Peasant on pärinev aastast 1886 ning Louis Anquetin sündis aastal 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 ja Avenue de Clichy Five O'Clock in the Evening. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 56 teost kunstnikult Louis Anquetin, mis on pärinevad ajastust 1880 kuni 1932.
Peamiselt Musée d'Orsay (Pariis), Tate Gallery (London) ja Van Gogh muuseum (Amsterdam) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1890s: 19 52 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Girl Reading a Newspaper.
Sellel lehel on kõige vanem teos Henri Samary (1880) ja kõige värskeim Village (1932).
Woman (7), Women (4) ja Parisian scene (3), kogu selle lehekülje 52 teose kohta.
Oil On Canvas, 5 teoseks 52 töödelt sellel lehel.
Impressionism ja Post-impressionism, seda lähtudes selle lehe originaalteostest.
Henri Samary ja FEMME DANS LA RUE: Musée d'Orsay, Pariis säilitab 2 selle lehel olevat teost.
Sündides 1861. aastal Normandiia rannikuõhus Etretatis, tõus Louis Émile Anquetin esile kui erandlik jõud 19. sajandi lõpu Prantsuse maali kunstipildi turbulentes maailmas. Tema kunstiline teekond ei olnud kunagi pelgalt imiteerimine; selle asemel oli see sügav uuring selle üle, kuidas traditsiooni saab modernse vahetusega lahti monteerida ja üles ehitada. Kuigi tema algusaastad olid puudutatud impressionismi kasvavast valgusest, valetas Anquetin endasse loomulik rahutuhing, mis tõi teda kaugemale atmosfääri haalistunud efektidest, suunates teda parema struktuuri, püsivuse ja sügava sümbolismi poole. Koos oma kaasaeglase Henri de Toulouse-Lautreciga liikus ta läbi Pariisi vibrantsete ja sageli kaosist täidetud kunstiringide, saadud Fernand Cormoni mentorlust, kuid säilitas alati stiililine iseseisvus, mis lõpuks redefineeris kaasaegse kompositsiooni piirid.
Anquetini karjääri revolutsioonilineim sünd tõi endaga kaasa cloisonnismi, tehnika, mille ta arendas koos Émile Bernardiga. See suundumine püüdis hoidma eemale impressionismi pehmetest ja segatud servadest, eelistades julget graafilist selgust, mis sai inspiratsiooniks vitraagi teravad kontuurid ja Jaapani ukiyo-e etappidide elegantne lihtsus. Rakendades mustade raskete kontuuridega piiratud kyllaste värvikihtide flaatseid alasid, lõi Anquetin teoseid, millel oli peaaegu skulpturaalne kaal. See meetod ei piirdunud vaid stseenide tabamisega; see destilleeris reaalsuse selle kõige olulisemate sümboliliste elementideni, luues visuaalse keele, mis tundus koroonas nii iidsena kui ka avantgardne. Selle vahetuse kaudu muutus kindel ei olnud enam pelgalt aken loodusesse, vaid teadliku disaini ruum.
Tema karjääri küpsusfaassis läbis Anquetini esteetika põnev metamorfoosi, liikudes eemale cloisonnismi flaatsetest pindadest suunas sügava austuse poole rubensianist traditsiooni vastu. See muutus märkas tagasipööndet vanade meistrite suurepärasusele, mida iseloomustasid keerulised allegorilised narratiivid ning hoolikas tähelepanu anatomilistele ja kompositsioonilistele detailidele. Ta hakkas kootma kokku oma varasemate eksperimentide struktuaalse julguse ja Peter Paul Rubensi lennukase, lihaseline energiaga. Teosetena „Rinaldo ja Armida“ on nähtav see hingustoppav süntees: barokkaja emotsionaalne sügavus ja klassikaline drama kohtumasid maaliartistiga, kes mõistis joone jõudu ja modernset tundlikkust.
Anquetini võime navigeerida nendes erinevates maailmades — Pariisi tänavaelu efemeerses energias ja ajaloolise müüdi ajatustes — on see, mis kindlustab tema koha kunstiloostuses. Tema teosed tabavad sageli muutuva maailma pulssi, nagu evokatiivses teoses „Avenue de Clichy: kell viis õhtul“, kus Pariisi tihe öine energia on kujutatud elegantse ja peaaegu kinoliku graatsiga. Olgu see siis intimit ja õhinlik „Portret noore naise pikade juustega“ või tema eksperimentsemate teostega kaasnev julge graafiline tugevus, Anquetini looming on tunnistus stiililise evolutsiooni jõust. Ta jääb elavaks kujundiks igale kogujale, kes soovib mõista sild klassikalise mineviku ja modernismi koitmist vahel.
