French painter born in Entrepagny on January 26, 1861 and died in Paris on August 19, 1932, belonging to the school of Pont-Aven, one of the most influential French postimpresionistas movements.
He moved from his hometown to the French capital where he/she began his artistic studies in 1882. Anquetin joined as a disciple in the ateliers of Léon Bonnat and Cormon, where he/she met Charles Laval, Emile Bernard and Henri de Toulouse-Lautrec, Vincent van Gogh. The following year he/she continued his studies with Claude Monet at Giverny.
Along with his fellow studies, Toulouse Lautrec and Bernard, exhibited at the Café Tambourin in 1886. In his first work your attention is especially reflected by the impressionism of Degas. In 1887 Bernard and Antequin used in his paintings thick black bands that started to delimit areas increasingly flatter chromatically; This year is the Avenue de Clichy. 5 o'clock in the afternoon (Wadsworth Atheneum, Heartfor). Between the various circles of artists with whom shared intellectual and technical concerns, Anquetin belonged for a short period to the ephemeral but transcendent School of Pont-Aven. It revolved around the strong personality of Paúl Gauguin and between their theoretical postulates took precedence a taste by the primitive, influence of Gauguin trips to Haiti. When the school of Pont-Aven became the embryo of a new movement, the Nabis, Anquetin became interested in pointillist practice. This developed his work, along with that of teammate and friend Emile Bernard, in the germ of the cloisonnism. Developed by both and Gauguin around 1887-1888, this consisted in the application to the canvas of the technique used in the use of enamel cloisonne. Large areas of canvas of pure colors, contrasted with others in a chromatic struggle enhanced by its isolation by thick black strokes that delimited in a primitive way and at the same time put in relief the contrast of colors. Again you have to look at the huge personality of Gauguin the origin of the cloisonnism.
In 1888, Anquetin exhibited in the exhibition "the twenty" held in Brussels, and that same year, in the Hall of the French capital. In 1889, he/she exhibited with his colleagues cloissonistas at the Café Volpini exhibition that had great impact. During the 1990s, Anquetin studied realism, and felt close to the plastic positions proposed by Gustave Courvet and Honoré Daumier. These teachings, along with the study of the works of Rubens and Delacroix, were apparent in her latest works: large compositions in figurative tone whose destination were tapestries or wall decorations.
AITKEN, GENEVIEVE and JOSEFOWITZ, SAMUEL. Artistes et Théâtres d'Avant-Garde, Paris 1890-1900. (Pont-Aven, Ed. Museum of Pont - Aven, 1991).
ANQUETIN. A. De l'art. (Paris, Ed. 1970).
BRAME & LORENCEAU (ed.). Louis Anquetin, passion d' être peintre. (Paris, exhibition catalogue, 1991).
WALTHER, INGO F. (Dir.). The painting of impressionism. 1860-1920 (colonia, Benedikt Taschen, 1996).
WARNOD, JEANINE (Commissioner). L 'Eclatement de l' Impresionisme. (Saint Germain en Laye, Musée Départemental du Prieuré, 1982).