Frederic Lloveras Herrera (1912-1983) - Vista urbana






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Vista urbana, 1975, mixed media, Spain, framed and signed by the artist.
Description from the seller
Signed by the author on the bottom and dated 1975
The work is presented framed.
The condition of the work is good.
Work dimensions: 35 cm high x 50 cm wide
Frame dimensions: 43 cm high x 58 cm wide
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BIOGRAPHY OF FREDERIC LLOVERAS HERRERA (1912-1983)
He was a Barcelona painter of a post-impressionist style who stood out in watercolor technique, although he also worked in oil, drawing and lithography. He is a humanist painter, as his themes are usually based on the urban landscape of the cities he traveled through constantly.
In 1940 he left his workshop job to continue his career as an artist. It was after the exhibition at the Mediterránea bookstore in 1942 that he began to receive recognition as a watercolorist; he held exhibitions there for two years. Also were very successful the exhibition at the Syra room (1941-1943) and the one at the Gaspar room] from 1945 for thirty years.
Apart from many trips throughout Spain, Lloveras was a traveling painter who captured in his paintings the cities he passed through. Therefore, there are numerous European cities encapsulated in his works.
Outside Europe, the author’s journey to the United States (1963) stands out, as his works attracted the attention of the New York Graphic Society. They proposed that he travel the country making paintings, which later became posters of them.
His artistic style aligned with the post-impressionists. He was a multidisciplinary artist, he began his artistic career with oil painting, during the war he dedicated himself to drawing and, finally, to watercolor. His technique earned him recognition as one of the best Catalan watercolorists of his time.
With watercolor he promoted the school “A lo Lloveras”, although he did not stay limited to this technique and refused to be pigeonholed into just one style. Nevertheless, he always remained in post-impressionism and refused to participate in passing vanguards, which caused some difficulty fitting his works into contemporary exhibitions.
Signed by the author on the bottom and dated 1975
The work is presented framed.
The condition of the work is good.
Work dimensions: 35 cm high x 50 cm wide
Frame dimensions: 43 cm high x 58 cm wide
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
BIOGRAPHY OF FREDERIC LLOVERAS HERRERA (1912-1983)
He was a Barcelona painter of a post-impressionist style who stood out in watercolor technique, although he also worked in oil, drawing and lithography. He is a humanist painter, as his themes are usually based on the urban landscape of the cities he traveled through constantly.
In 1940 he left his workshop job to continue his career as an artist. It was after the exhibition at the Mediterránea bookstore in 1942 that he began to receive recognition as a watercolorist; he held exhibitions there for two years. Also were very successful the exhibition at the Syra room (1941-1943) and the one at the Gaspar room] from 1945 for thirty years.
Apart from many trips throughout Spain, Lloveras was a traveling painter who captured in his paintings the cities he passed through. Therefore, there are numerous European cities encapsulated in his works.
Outside Europe, the author’s journey to the United States (1963) stands out, as his works attracted the attention of the New York Graphic Society. They proposed that he travel the country making paintings, which later became posters of them.
His artistic style aligned with the post-impressionists. He was a multidisciplinary artist, he began his artistic career with oil painting, during the war he dedicated himself to drawing and, finally, to watercolor. His technique earned him recognition as one of the best Catalan watercolorists of his time.
With watercolor he promoted the school “A lo Lloveras”, although he did not stay limited to this technique and refused to be pigeonholed into just one style. Nevertheless, he always remained in post-impressionism and refused to participate in passing vanguards, which caused some difficulty fitting his works into contemporary exhibitions.
