02 Paintings, Streets of Paris, Louis Anquetin's L’Intérieur de chez Bruant: le Mirliton, with footnotes, #83

Louis Anquetin  (1861–1932)
The Interior of Bruant - The Mirliton, c. 1886 until 1887
Oil on canvas
145 × 157 cm (57 × 61.8 in)
Private collection

L’Intérieur de chez Bruant: le Mirliton is not only a large-scale group portrait representing many of the artist’s illustrious friends, but also a portrait of their preferred gathering place, Le Mirliton, the vivacious establishment opened in 1885 in what had been the second location of the Chat Noir. The cabarets, cafés and dance halls of Montmartre proved a source of endless inspiration for Anquetin, Toulouse-Lautrec, Bernard and others in their circle who frequented these establishments together. More on this painting

Louis Anquetin (26 January 1861 – 19 August 1932) was a French painter; born in Étrépagny, France and educated at the Lycée Pierre Corneille in Rouen.

In 1882 he came to Paris and began studying art at Léon Bonnat's studio, where he met Henri de Toulouse-Lautrec. The two artists later moved to the studio of Fernand Cormon, where they befriended Émile Bernard and Vincent van Gogh.

Louis Anquetin  (1861–1932) 
AU MOULIN ROUGE, circa 1893
Oil on canvas
168.7 by 207cm., 66 3/8 by 81 1/2 in.
Private collection

Au Moulin Rouge is a large scale depiction of the world famous cabaret that captures the bohemian and risqué ambiance of the café-concert in a vibrant, modernist style. Anquetin had begun to frequent the Moulin Rouge shortly after it opened in 1889, and together with his fellow artists Henri de Toulouse-Lautrec and Emile Bernard, became a regular at the cabaret throughout the 1890s. This work is Anquetin's largest and most compositionally complex work on this theme, and also is one of the final works from the distinctive Cloisonist phase of his artistic development. 
More on this painting

Around 1887, Anquetin and Bernard developed a painting style that used flat regions of color and thick, black contour outlines. This style, named cloisonnism by critic Edouard Dujardin, was inspired by both stained glass and Japanese ukiyo-e.

He eventually fell from the public's eye after abandoning the modern movements, opting instead to study the methods of the Old Masters. Thus, Anquetin's works following the mid-1890s, such as Rinaldo and Armida, were especially Rubensian and allegorical in nature. More on Louis Anquetin

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