Young Woman From Pont-aven With Her Baby By Robert Micheau-vernez - Brittany

The son of a naval officer of a naval officer, Robert Micheau was educated at the Collègein Brest, where he attended evening classes at the École desBeaux-Arts with painter Charles Lautrou. From October 1926 toJune 1928, he attended the Ecole Régionale des Beaux-Arts dein the studio of painter Emile Simon, where he won a medal in June 1927. He was then admitted to the Ecole des Beaux-Arts de Parisstudio of painter Lucien Simon. His studies continued until June1930. At the same time, he enrolled in Maurice Denis' Ateliers d'art sacré classes.Maurice Denis. In December 1932, he married Lysa-Mina Vernez, herself amedallist at the Beaux-Arts de Nantes in June 1929. It was under the doubleof "Micheau-Vernez" that he signs his works from now on.

Micheau-Vernez

In 1930, René-Yves Creston asked him to join the Seiz-Breur movement.Seiz-Breur movement, which aimed to create contemporary Breton art. He joinedbut took little part in their activities and resigned inresigned in June 1946.

In November 1930, at the Galerie Saluden in Brest, he exhibited eighteenearthenware, including thirteen plates in collaboration with the FaïencerieHenriot of Quimper. The immediate success confirmed a thirty-yearcollaboration with the pottery, creating one hundred and forty sculpturessculptures, including a number of dishes. His works in earthenware made Micheau-VernezMicheau-Vernez's fame. Quickly becoming the brand image ofFaïenceries Henriot de Quimper, his works are featured on the covers of thecatalogs. This situation completely overshadows his pictorial work.his pictorial work.

A large decorative panel on earthenware tile, created inin 1950, in the hall of Quimper's SNCF train station. A large piecedepicting a Bigoudène in ancient costume was presented to General Dede Gaulle by the inhabitants of the Ile de Sein, during his visit on June 121949. It remained in his office until 1958.

Art critic André Parinaud, director of the monthly Galerie des Arts, wrote of him: "There are few lives more discreet, more secretive in their simplicity simplicity than that of this artist, and no work more radiant withcolors, sunshine and youth. This former pupil of Maurice Denisthe lesson of the Nabis, the intangible purity of the artistic gesture and the