"Bigoudens Dancers By Micheau-vernez - Quimper Earthenware - Manufacture Henriot"Rare polychrome earthenware. Manufacture Henriot, circa 1960. Creation of the model in 1955. Perfect restoration at the corner of the right apron. Robert Micheau-Vernez (1907-1989): Son of a naval officer, Robert Micheau studied at Collège Saint-Louis in Brest where he attended evening classes at the École des Beaux-Arts in the company of the painter Charles Lautrou. From October 1926 to June 1928, he attended the Regional School of Fine Arts in Nantes in the studio of the painter Emile Simon, where he obtained a medal in June 1927. Then he was admitted to the school of Fine arts of Paris in the studio of the painter Lucien Simon. His studies continued until June 1930. At the same time, he enrolled in the courses of Maurice Denis' Sacred Art Workshops. In December 1932, he married Lysa-Mina Vernez, herself a medalist in Fine Arts in Nantes in June 1929. It was under the double patronymic of "Micheau-Vernez" that he would now sign his works. In 1930, René-Yves Creston asked him to join the Seiz-Breur movement, which aims to create contemporary Breton art. He joined in solidarity, but participated little in their activities and resigned in June 1946. In November 1930, at the Saluden gallery in Brest, he exhibited eighteen earthenware, including thirteen plates in collaboration with Faïencerie Henriot de Quimper. The immediate success will accredit a thirty-year collaboration with the pottery, with the creation of one hundred and forty sculptures, including some dishes. His earthenware works marked the celebrity of Micheau-Vernez. Quickly becoming the brand image of the Faïenceries Henriot de Quimper, his works appear on the cover of the catalogs of the pottery. This situation will completely obscure his pictorial work. A large room representing a bigoudene in ancient costume was offered to General De Gaulle by the inhabitants of the island of Sein, during his visit on June 12, 1949. It will be installed in his office until 1958. The art critic André Parinaud, director of the monthly Galerie des Arts, writes of him: "There is little more discreet existence, more secret in simplicity than that of this artist and more brilliant work of colors, sun and youth. L "Maurice Denis' former student retained the lesson of the nabis, the intangible purity of the artistic gesture, the modesty for any approach".