Michael Loys

Rider - Drawing by Michael Loys - 20th century

20th century

Rider is a watercolor drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, June ...

Rider is a watercolor on paper realized by Pierre Laurent Brenot (1913-1998). Good conditions, aged. Passepartout included: 32 x 24. Here the artwork represents a rider coming forward. vivid colors. The artwork is depicted skillfully through confident and soft strokes in a well-balanced composition and harmonious colors. Pierre-Laurent Brenot (1913-1998) In 1928, he entered the École Estienne where he attended classes for three years. Then he continued his training as a designer with Fernand Hertenberger. Pierre-Laurent Brenot's gifts of observation and precision in his pencil stroke were immediately noticed.During the fashion years (from 1936 to 1950),he was hired by Monsieur Chatard, a great tailor for men and women, in his Fashionable store, at number 16 boulevard Montmartre. He then created a line of men's suits. On his momentum, he produced numerous fashion designs for other great couturiers (Christian Dior, Jacques Fath, Cristóbal Balenciaga, Nina Ricci, Jeanne Lafaurie...

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Perfect for your cycling enthusiast! A 1930s charcoal on paper drawing of a bicycle race by artist Francis Chapin. Image size: 11" x 14". Archivally matted to 16" x 20". Provenance: Estate of the artist. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, was one of the city’s most popular and celebrated painters in his day. Born at the dawn of the 20th Century in Bristolville, Ohio, Chapin graduated from Washington & Jefferson College near Pittsburgh, Pennsylvania before enrolling at the Art Institute of Chicago in 1922. He would set down deep roots at the Art Institute of Chicago, exhibiting there over 31 times between 1926 and 1951. In 1927 Chapin won the prestigious Bryan Lathrop Fellowship from the Art Institute – a prize that funded the artist’s yearlong study trip to Europe. Upon his return to the United States, Chapin decided to remain in Chicago, noting the freedom Chicago artists have in developing independently of the pressure to conform to pre-existing molds (as was experienced by artists in New York, for example). Chapin became a popular instructor at the Art Institute, teaching there from 1929 to 1947 and at the Art Institute’s summer art school in Saugatuck, Michigan (now called Oxbow) between 1934 – 1938 (he was the director of the school from 1941-1945). Chapin’s contemporaries among Chicago’s artists included such luminaries as Ivan Le Lorraine Albright...