Louis Cane enrolled in the National School of Decorative Arts in Nice in 1962 and then studied at the École Nationale Supérieure des Arts Décoratifs in Paris (where he was awarded a diploma as interior designer) and after that entered the École Nationale Superieure des Beaux-Arts in Paris. In 1967 he exhibited with Arman, Ben, Noel Dolla and Patrick Saytour in the Hall des Remises en question (a new space that Ben had opened in Nice), a canvas covered with stamps with the caption LOUIS CANE ARTISTE PEINTRE. Such stamps and pasted pieces of paper (coloured paper cut into slender strips and pasted onto kraft paper were the first works of this artist). He belongs to the generation of young artists who met around 1968, before in 1970 they came together under the title Supports / Surfaces. In 1968 he won the Grande Loge du Prix de Rome de Peinture. Louis Cane posed the question of the materials in painting and in the domain of sculpture. He experimented, investigated, observed various materials – plastic, canvas, wire mesh and wood, constantly reinventing material. In parallel with his work in painting, Louis Cane took part in the development of the journal Peinture, cahiers théoriques, published in 1971, when differences in the Supports / Surfaces group began to be visible. Up to 1975, Cane went on with his abstract series: Toiles découpées of 1970, canvases without framed, placed on the floor, and then painted with vaporisation, folded and finally cut up and straightened directly on the wall; after that he did Toiles au sol in 1972 (reflection about space in painting and chromatism) and the series Sol / Mur of 1974 – 1975 (black paint impregnated into the canvas, hung on the wall or placed on the floor). In 1978 his painting developed. He once again introduced figuration. He painted emblematic figures, naked and blocky women, birth, lunches on the grass. He said that his models were Picasso, Manet, Goya, Rembrandt, Matisse, Frank Stella, Jackson Pollock and finally Kooning. The Maeght Foundation of St Paul de Vence organised an exhibition for him in 1983, showing the evolution of his work. In 1978 he started working on sculptures. The sculptures, almost all of females, once again were linked with the traditional practice of modelling, and the patterns were sometimes burlesque, sometimes pathétique. In the sculpture he used plaster, nails or, for example, or such familiar utensils as the celebrated Flit gun (Fly-tox) Painting (1978) is a lively and agitated canvas. The application of the paint on the canvas lends it a tragic dimension. Louis Cane lives and works in Paris
La Société des Amis de la Fondation Maeght a fait don d'une peinture de l'artiste à la Fondation en 2009 et Louis Cane a également fait don de trois peintures en 2016.