Louis ANQUETIN (1861-1932)
Gallant Scene in Landscape
Large oil on canvas representing a nude lady stretching in a lascivious position, signed lower right.
Within fine Louis XV Style frame.
A certification from the Anquetin Academy will be given to the buyer.
Height: 90 cm (35-1/3 in.) - Width: 90 cm (35-1/3 in.)
Frame: 115 x 115 cm (45-1/4 x 45-1/4 in.)
Louis Anquetin, was born in Etrépagny (Eure), France on January 26, 1861, died in Paris in 1932. Painter from the French School. Knight of the Legion of Honour.
After studying at Rouen high school, he came to Paris in 1882 and entered the studio of Fernand Cormon. While under the Japonism influence, he became interested in works by the Impressionists then theories by Signac and his friends. Around 1888 he employed a synthetic paint while seeking modern subjects. Further he used flat hues and cloisonnisme which was dear to Gaugin whom he did not know directly. He then was part of the group of artists exhibiting at Cafe Volpini. His research at this time was of the same nature as those of Emile Bernard as revealed in "The Reaper in the Fields" of 1886. Then his original touch can be found in works like "Portrait of Actor" and "Lady in the Street". After 1890, his taste for life, shapes in motion, color, led him to the study of anatomy and composition. He enjoyed painting allegories such as horses as magnificent stallions. Hence he began working from art museums and sought the painting secrets from Rubens, Jordaens, and the 17th century Flemish masters. Having first participated in the Salon of Independents after 1888 and then at the Bouteville Park he exhibited at the National Society of Fine Arts in 1890 and 1891, he became an associate in 1907, and regularly exhibited in the Salon until 1914. His work "Portrait of Mr. Janvier in the role of Lampourde" was part of the 19th century portraits show at the Salon of Autumn in 1912. All his work was then to be affected by the work of Rubens; a large canvas "The Cabaret" reflected his desire to shake reality while commanding imagined forms. Then another large painting "The Combat", exhibited in 1896, consecrated his abandonment of Modernism. Its evolution, conditioned by the growing interest brought by 17th century Flemish art, was similar to that of Emile Bernard, obsessed by the 17th century Spanish and Bolognese schools. Now Anquetin adopted the Rubensian way in themes, order of his compositions, decoration motifs, ornamentation, accessories and assimilated the color processes working with glazes in order to get the transparency of light and freshness of the colors. He emphasized his business model as study tool for Rubens and deplored the ignorance of contemporary artists and even created such a technical course at the School of Fine Arts. Louis Anquetin collaborated with Comoedia. He was the subject of articles by Emile Bernard in the gazette, "Mercure de France" in 1932 and the publication, "The Art and Artists" in 1933. His work earned him the Knight's Cross of the Legion of Honor. He admired the great decorators working with immense surfaces. He executed notably "Rinaldo and Armida" on Mr. Empain’s ceiling in Brussels, the Curtain for Theatre Antoine purchased by the City of Paris, the paintings of Nice artistic circle and horse track cafe at Bostock in Montmartre. He also made tapestry cartoons at Gobelins: "War and Peace". Often hostile he has a solitary and misanthropic life. His portraits include that of Gémier in "La Rabouilleuse" and his self-portrait.
Louis Anquetin paintings are in the collections of the following museums:
La Rochelle, France
London (Tate Gallery)
In this painting with a mythological emphasis, Anquetin borrows the gallant party subject evoking the sensuality of the 18th century painters such as Watteau or Fragonnard. The subject maybe difficult to identify however the mix of painter influences transpires through the composition and choice of colors. The female nude is treated with delicacy. A delicacy that echoes the youth of the young shepherd.
Condition Report: Canvas properly pulled onto its original stretcher from the late 19th century. Small localized old re-paintings are visible with the black light. One small older tab on the verso’s border. Overall good condition for the painting.
Condition report :
- Items quantity: 1
- Height in cm : 90 cm
- Width in cm : 90 cm
- Frame height in cm : 115 cm
- Frame width in cm : 115 cm
- Expertissim Reference: 2014121932