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Peintres D'Asie, Œuvres Majeures [33 & 34] L'Art Moderne Chinois - 中国现代艺术 [34] L'Indochine Au Xxe Siècle - Đông Duo'Ng Thế Kỷ 20

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PAN YU LIN OU YULIANG (1895-1977) Femme accroupie sur fond rouge, circa 1940-50 Ink rubbing on traditional Chinese paper, signed lower right 12.4 x 8.7 cm (sujet) - 4 7/8 x 3 3/8 in. (image) 13.8 x 9.2 cm (feuille) - 5 3/8 x 3 5/8 in. (sheet) PROVENANCE Private Collection, Paris (bought in 2005) BIBLIOGRAPHY This work will be included in the forthcoming edition of Pan Yu Lin’s catalogue raisonné compiled by The Li Ching Foundation. Bibliography for a similar work Rita Wong, Pan Yu Lin, Catalogue raisonné : prints, The Li Ching Cultural and Educational Foundation, Italy, 2017, P26, repr. coul.p. 99, « Crouching woman », Collection Musée Cernuschi, Paris. She was one of the first women to graduate from the Shanghai Art Academy, and one of the first to paint in the Western style. Her unshakeable commitment enabled her to overcome the many obstacles facing modern women in the early 20th century. Pan Yu Lin, born in 1895 in Jiangsu, China, was to have a considerable influence on modern 20thcentury Chinese art. The Shanghai school, where she studied, was well-known for its avant-gardism and taught Western techniques, particularly life drawing. In 1921 she went to France, studying at the Ecole des Beaux-Arts of both Lyon and Paris. Pan Yu Lin’s modernist works aroused lively controversy and severe criticism in 1930s China, because she focused particularly on the nude: a subject still very much taboo there. As a result, she returned to Paris, and went on numerous travels. Her works were exhibited all over the world, and she continued to merge styles in her work, becoming a fully rounded artist and a legend in her time. Her approach developed during a period of continuous transformation, where oppositions between not only tradition and modernism but also East and West existed side by side.

PAN YU LIN OU YULIANG (1895-1977) 潘玉良 《红色背景里蹲着的女士》 油印版画 12，4x 8，7cm （主体部分） PROVENANCE Private Collection, Paris (bought in 2005) 文献 本件作品将收录到由衣淑凡编撰，立青文教基金会出版的《潘玉良作品集》里。 Bibliography for a similar work Rita Wong, Pan Yu Lin, Catalogue raisonné : prints, The Li Ching Cultural and Educational Foundation, Italy, 2017, P26, repr. coul.p. 99, « Crouching woman », Collection Musée Cernuschi, Paris. 潘玉良是最早从上海美术学院毕业的女性之 一，也是最早以西方风格作画的画家之一。 她成功地冲破了20世纪初期女性所面临的桎 梏，展现出坚定不移的勇气和决心。 潘玉良，1895年出生于中国江苏，对20世纪 中国的现代艺术产生了相当大的影响。她所 就读的上海美术学院以前卫主义著称，传授 西方绘画技巧，尤其是人体写生画法。 1921年，她去了法国，并在里昂和巴黎的高 等美术学院学习。 潘玉良的现代主义作品在20世纪30年代的中国 引发了极大的争议并受到严厉的批评。因为她 的作品特别关注裸体这一表现形式，而裸体 在当时的中国仍然是一个非常禁忌的话题。 因此她回到巴黎，并开始四处游历。她的作 品在世界各地展出。其作品不断地融合各种 风格，使得潘玉良成为了一位艺术技巧非常 全面的艺术家，也成为了她那个时代的传奇 人物。潘玉良的作品在传统与现代，东方与 西方之间的对立共存中完成了变革和发展。 第200号拍品 文献 这些作品将收录到由衣淑凡编撰，立青文教基金会出版的《潘玉良作品集》里。

PAN YU LIN OU YULIANG (1895-1977)

PAN YU LIN OU YULIANG (1895-1977) 200 - PAN YU LIN ou Yuliang (1895-1977)

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PAN YU LIN OU YULIANG (1895-1977) Cinq chevaux, 1958 Greetings card's print, signed in the plate, and its envelope, signed and dated by the artist 9.8 x 21.7 cm - 3 7/8 x 8 9/16 in. BIBLIOGRAPHY This work will be included in the forthcoming edition of Pan Yu Lin's catalogue raisonné compiled by he Li Ching Foundation

PAN YU LIN OU YULIANG (1895-1977) 五匹马，1958年 纸上印刷品形成一张卡片，左上角有签名，其信封上有艺术家的签名和日期 9.8 x 21.7 cm - 3 7/8 x 8 9/16 in. 文献 本件作品将收录到由衣淑凡编撰，立青文教基金会出版的《潘玉良作品集》里。 证据 私人收藏，巴黎（2020年左右获得） 第201号拍品 文献 这些作品将收录到由衣淑凡编撰，立青文教基金会出版的《潘玉良作品集》里。

PAN YU LIN OU YULIANG (1895-1977) 201 - PAN YU LIN ou Yuliang (1895-1977)

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PAN YU LIN OU YULIANG (1895-1977) Jeune femme à la colombe, 1957 Greetings card's print, numbered 25/2 and countersigned lower left, addressed to Mr Grossenbacher, signed and dated on the back 13 x 17.7 cm (sujet) - 5 1/8 x 7 (image) 14.5 x 22 cm (feuillet) - 5 5/8 x 8 5/8 in. (sheet) BIBLIOGRAPHY This work will be included in the forthcoming edition of Pan Yu Lin's catalogue raisonné compiled by he Li Ching Foundation

PAN YU LIN OU YULIANG (1895-1977) 年轻女子与鸽子，1957年 贺卡形式的印刷品，编号为25/2，左下方有会签，收件人为格罗森巴赫先生，背面有签名和日期。 13 x 17.7厘米（主体）- 5 1/8 x 7（图像）。 14.5 x 22厘米（张）- 5/8 x 8 5/8英寸。 文献 本件作品将收录到由衣淑凡编撰，立青文教基金会出版的《潘玉良作品集》里。 证据 私人收藏，巴黎（2005年获得） 第202号拍品 文献 这些作品将收录到由衣淑凡编撰，立青文教基金会出版的《潘玉良作品集》里。

PAN YU LIN OU YULIANG (1895-1977) 202 - PAN YU LIN ou Yuliang (1895-1977)

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SANYU (1895-1966) The ringmaster, Mr Loyal, on his horse, 1926 Oil on canvas, signed and dated upper right 27.2 x 19 cm - 10 3/4 x 7 1/2 in PROVENANCE Collection Henri-Pierre Roché, Paris Collection Alexandre Netsa - Mamonoff / Marynen (avant 1940) Collection privée, Belgique (par descendance des précédents entre 1991 et 2003) BIBLIOGRAPHY This work will be included in the forthcoming edition of Sanyu catalogue raisonné compiled by Rita Wong, The Li Ching Foundation. SANYU - CHEF DE FILE DE L’ART MODERNE CHINOIS Born into a wealthy family in Sichuan province, Sanyu grew up in an environment that was conducive to the development of his artistic talents and the birth of his passion. Encouraged by his father, an animal painter, he learns calligraphy and Chinese painting at a very young age, disciplines that will have a strong influence on his work. Sanyu came to France and settled in Montparnasse around 1923. The young painter chose to attend the Académie de la Grande Chaumière rather than an overly academic education. Along with Xu Beihong and Lin Fengmian, he was one of the first generation of Chinese artists trained in Paris. While the latter later returned to China, Sanyu preferred to continue to concentrate on an even more advanced artistic research and, sensitive to the bubbling artistic emulation of these years, he chose to settle in France. The Roaring Twenties attracted many artists from around the world to Paris: the Italian Amedeo Modigliani, the Russian Marc Chagall, the Polish Moses Kisling, the Japanese Tsuguharu Foujita... The School of Paris concentrated all the new artistic ideas of the time. The richness of this atmosphere is fertile: Sanyu spends a lot of time in the cafés of the Montparnasse district, such as the Coupole or the Dome. He constantly sketched the regulars around him, sometimes directly on the paper tablecloths of the café. He rubs shoulders with Modigliani, Man Ray, Brancusi, Matisse and Picasso. While some, such as Foujita, who was a worker but also a socialite, were careful to promote their work, Sanyu, who was more discreet, was more concerned with the search for excellence in technique, and with the transcription of the simplicity of feelings through ever purer and clearer lines. Sanyu’s work attests to his attachment to his native country. In particular, he shows his admiration for Ba Da Shan Ren, a 17th century Chinese artist (1625-1705), whose work conveys the sense of isolation and loneliness he felt at the end of the Qing dynasty and the birth of the Ming dynasty. Nearly three centuries later, Sanyu, now living in Paris, also feels the distance from his roots and, quite naturally, draws inspiration from his illustrious predecessor. In the works of Ba Da Shan Ren and then in those of Sanyu, we are often impressed by these small animals, or birds, which seem lost in a very vast space, an impression amplified by the violent contrast, rendered thanks to the proportion of the lines. The extreme simplification of these lines focuses the attention of the public on the powerful inner feeling that emerges from the works, pride, solitude, joy or sadness. From the entirety of Sanyu’s work, a few major themes emerge: animals, flowers, and the nude. While the nude on a live model remained a delicate subject in China at the beginning of the 20th century, the artistic freedom that reigned in Paris opened new perspectives for the artist. He excelled on paper and flourished through a panoply of talented sketches. Following the precepts received in his childhood, they emphasize the “subjective use of features to express the appearance and spirit of the subject” instead of simply reproducing the shape of the subject. He renders in a few precise and skilful strokes, the soul of the subject presented, and that beyond its simple appearance. The recurrent presence of the single eye, like a wink reminding us of this opening of the subject to the world, sums up the talent of the artist. If the artist’s first watercolors reveal a delicate combination of line and figure modeling, his inks evoke the purity of Chinese calligraphy. It is thanks to the transition to the oil technique that Sanyu will finally assert his personal style. The artist seems to refuse any idea of real perspective in his paintings. However, through the effects of a luminous touch and the delicate play of shades with ivory tones, the defender of Picasso manages in his own way to suggest volume in a very original way. HENRI-PIERRE ROCHÉ COLLECTIONNEUR-MARCHAND The two oil paintings for sale, Le maître de piste, Monsieur Loyal, à cheval, and La théière jaune, acquired during the artist’s lifetime by a Russian collector living in Belgium, have been stored in the safe of his heir for more than 30 years, and are revealed today for the first time. The artist went to Paris in 1920 and decided to settle there: he painted these two pictures only a few years after his arrival in France. They appear today to the general public, after having remained in private hands for over 80 years. The discovery of these two paintings, dated by the artist - 1926 for one, and 1927 for the other - allows a very interesting advance in the knowledge of Sanyu’s work. Indeed, if the Chinese artist’s favorite field has always been ink or watercolor on paper, his painted work is rare and later. What is known to date points to 1929, the date of Sanyu’s meeting with Henri-Pierre Roché, as the starting point for his work in oil. Le maître de piste, Monsieur Loyal, à cheval (The Ringmaster, Mr. Loyal, on Horseback) thus appears in 1926 as a key work in the history of this painter. The chromatic range where the color is vibrant but also this characteristic ring surrounding a spontaneous line also charmed one of the greatest collectors of the 20th century, Henri-Pierre Roché. Author of two novels adapted for the cinema by François Truffaut, Jules et Jim and Deux Anglaises et le continent, Roché devoted a large part of his life to collecting. An inquisitive and avantgarde spirit, he promoted little-known artists to his inner circle, which included such well-informed collectors as Gertrude Stein and John Quinn. He wrote in 1957 in his Confessions of a Collector: « Influenced by the success of Picasso, Marie-Laurencin, I began to support beginners: Pruna [his dancers] now in a monastery in Spain, some of whose women are of a penetrating grace| Ebihara, Japanese with blue and white snowscapes| Sanyu, Chinese, poetic (his Horse Woman)| Marembert (bordering on surrealism)| Papazoff, painter and writer. » 1 From his meeting with Sanyu in December 1929, a friendship but also a relationship of patron follows. This period was the most productive for the artist and in 1932, Roché already had 111 oil paintings and 600 drawings of the artist in his personal collection. Encouraged by Roché, Sanyu received financial assistance to offset his recent financial difficulties following the death of his brother, who had been sending him a pension. The quarrels over money eventually put an end to the relationship between the two friends. The two works presented for sale are part of a group of works acquired by Roché at this time, on which he systematically affixed his monogram by hand. They underline the fruitful nature of the relationship that united the two men and allowed the young Chinese painter to flourish in Paris. Biographical notes This work will be included in the forthcoming edition of Sanyu's catalogue raisonné compiled by the Li Ching Foundation. 1895 Sanyu was born in a province of Sichuan 1919 Journey to Japan 1921 Spent time in Paris before moving to Berlin for two years 1923 Back in Paris, became part of the first generation of Chinese artists to settle in France 1925 First exhibition at the Salon d’Automne (and again in 1928,1946) 1929 Met Henri-Pierre Roché 1930 First exhibition at the Salon des Tuileries (then again in 1932, 1936,1937) 1932 Exhibition at the J.H. de Bois Gallery in Haarlem at Johan Franco’s initiative First exhibition at the Salon des Indépendants (also in 1938, 1942-1946, 1948, 1954 and 1956) 1933 First exhibition at the Kuntzaal van Lier Gallery in Amsterdam at Johan Franco’s initiative (and again in 1934) Participation in the «Exhibition of Contemporary Chinese Art» at the Musée du Jeu de Paume, Paris 1948 Arrival of the second wave of Chinese artists in Paris, including Zao Wou-Ki 1948 Lived in New York and met Robert Frank, remaining there for two years 1963 While visiting France, Huang Jilu, then Minister of Education of Taiwan, Republic of China, offered Sanyu a teaching post at Taiwan University and staged a retrospective in Taipei 1964 42 paintings were sent to the National History Museum of Taipei 1965 Last personal exhibition during his lifetime at the house of his friends and neighbours Etienne and Natacha Levy, Rue du Moulin Vert, Paris 1966 Sanyu died in his Paris studio 1978 Hommage à Sanyu, Galerie jean-Claude Riedel, Paris 1984 Second exhibition in Paris of works on paper in Galerie d’Orient, rue des Grands Augustins 1995 Sanyu, National Museum of history, Taipei, Taïwan 2004 Sanyu, l’écriture du corps, Musée Guimet, Paris La dona, Metamorfosi de la modernitat, Barcelone 2011 Artistes chinois à Paris, Musée Cernuschi, Paris 2017 Paintings and Drawings, Sanyu. National Museum of History, Taipei, Taïwan 2018 An intimate View: Sanyu’s Small Masterpieces Taipei, Taïwan.. Alexandre Netsa-Mamonoff/Marynen’s Collection Alexandre Netsa-Mamonovas (1912-1991) was a Russian immigrant living in Belgium. He married in 1935 Georgette Marynen (1912- 2003), who became my godmother. They have no direct descendants. He first worked as a tour guide, translating the tours in museums into Russian. Afterwards, he acquired a certain knowledge of art and began to spot certain talents in Paris under the guidance of his friend Bénédict L Goldschmidt (1905-1972), a rich banker and art collector. It was during this period that Alexandre Netsa-Mamonoff bought «small» paintings such as a Foujita, a Sanyu, a Max Ernst, a Marie Laurencin, a Van Gogh,... Most of his purchases proved to be good choices. Alexandre, Georgette, my father Alfred, Alla (who had married my father in the first marriage and Benedict in the second marriage) and Benedict were good friends and knew each other before the Second World War. They often feasted together. At the death of his friend, Alla SafievaGoldshmidt in 1989, the extraordinary collection of the couple Alla and Bénédict Goldschmidt is bequeathed to the Museum of Ixelles (Belgium). An exhibition, placed under the high patronage of Their Majesties King Baudouin and Queen Fabiola, was then organized by the Royal Museums of Fine Arts of Belgium (September 21 - December 16, 1990). This legacy will enhance the collections of the Museum of Modern Art with prestigious names such as Picasso, Braque, Miro, Chagall, Ensor, Dali, Chirico, Spilliaert... The couple Mamonoff resold their paintings every time they needed to «bail out». I remember that they had the Sanyu appraised at the end of the 70s but its value was very low at the time. From then on, in order not to have these ‘decorative’ paintings clutter up their bank vault, they placed them on their mantelpiece... I received them after Alexandre’s death in 1991, but before my godmother’s (Georgette). She did not give them any particular importance at that time.  As for the Mamonoff-Marynen couple, they came to live in our house where I lived with my father in the 1980s (one floor was dedicated to them). Extract from a discussion with Georgette Mamonoff-Marynen’s godson, who has kept the two small paintings of Sanyu, in his safe in Belgium since the death of Alexandre Netsa (1991) Le maître de piste, Monsieur Loyal, à cheval is a perfect example of the artist’s ability to combine these two distinct cultures and capture strong elements in each. The small format used here allows for an intimate view. By focusing on the subject, Sanyu offers a very personal approach, the viewer’s eye cannot be diverted from the center of the composition. No element disturbs the reading. The absence of a background combined with a linear perspective reflects the traditional teachings the artist received. In Chinese ink painting, figures and backgrounds are traditionally not depicted, favoring a lateral representation. Le maître de piste, Monsieur Loyal, on horseback follows this 2D dimension, which is reminiscent of kakemonos. From his training in China, he also retains the assured gestures - the use of silk or paper does not allow for repentance. The touch here is spontaneous and sure. From the West, he experimented with oil painting, discovered during his apprenticeship at the Académie de la Grande Chaumière, as well as some work on perspective. Marked by the Roaring Twenties and the ebullience of Paris, Sanyu approaches a colorful palette where green and blue mingle with black and brown. He chooses an evocative subject in each of these two cultures. If the theme of animals is regularly found in his body of work, horses remain a favorite. Loaded with a strong symbolism in China where they are represented in traditional painting, they also remind him of the painting of his father, an animal painter specialized in the representation of horses and lions. In Le maître de piste, Monsieur Loyal, à cheval, Sanyu chooses to immortalize the animal dressed in a harness, in a worked and disciplined pose, mounted by the ringmaster, nicknamed Monsieur Loyal. He illustrates here a scene of the circus, a subject appreciated in Western painting, which also evokes memories of his childhood when he discovered the traveling circus coming from Bejing. The horse seems almost more individualized than the rider, whose silhouette fades behind the form. The rider is disguised to be seen by all and especially from afar, the costume is given pride of place. From this face which seems tiny, hidden between the width of the black garment and the large black top hat, only the large pinkish touch blushing the cheeks of the ringmaster attracts our attention. If this detail is unusual here, it fits very naturally into Sanyu’s work, a simple stylistic transposition of his numerous watercolor portraits.

SANYU (1895-1966) 常玉 《马背上的马戏团团长先生》1926年 布面油画，右上方有签名和日期 27.2 x 19 cm 将收录到由衣淑凡编撰的《常玉作品全集》 文献 本件作品将收录到由衣淑凡编撰，立青文教基金会出版的《常玉作品集》里。 常玉 (1895-1966) 《马背上的马戏团团长先生》1926年 布面油画，右上方有签名和日期 出处 巴黎 亨利·皮埃尔·侯谢 （Henri-Pierre Roché ）收藏 亚历山大·内萨·马莫诺夫/马林恩收藏 （1940年之前购入） 比利时私人收藏（于1991年-2003年从前任 藏家继承人手中购得） 相关作品文献 衣淑凡《常玉油画全集》：油画，国巨基 金会，意大利Li & Keng艺术出版社，意大 利2001年：《马背上的杂技演员》，1930年 代，木板装裱纸上油画，44.5 x 38厘米，编 号20，彩色再版第119页。 衣淑凡《常玉油画全集》：油画，国巨基 金会，意大利Li & Keng艺术出版社，意大 利2001年：《马》，1930/1940年代，布面 油画，59 x 80.5厘米，编号207，彩色再版 第328页。 常玉 常玉出身于四川一个殷实家庭，自小受喜画 鸟兽的父亲熏陶 鼓励，对艺术兴趣盎然并 显示出过人的创作天赋。常玉一生 的创作 始终流露年幼时修习书法和国画的所学思 想。 1923年前后，常玉在巴黎蒙帕纳斯街 区（Montparnasse）落 脚，很快便受到不同 文化的冲击。这位年轻画家不屑于到传 统 美院进修，而是选择了进入大茅舍艺术学院 （Académie de la Grande Chaumière）习画。 一如徐悲鸿和林风眠，常玉也 是第一代留学 巴黎的中国艺术家之一。他们中的大部分之 后 都返回了中国。不过，常玉则决定留在法 国继 续自己的艺术创作和探索。 “疯狂年月”中的花都巴黎吸引了各国众多 艺术家：来自意 大利的阿梅代奥·莫迪利亚尼 （Amedeo Modigliani）、来自 俄国的马克· 夏卡尔（Marc Chagall)、来自波兰的莫伊兹· 基斯林（Moise Kisling）以及来自日本的藤田 嗣治等，巴黎画派融汇了当时各种新观念和新 想法。百花齐放的艺术氛围 为创作提供了热 土：常玉在蒙巴纳斯区的咖啡馆，如“圆顶餐 厅”或“多摩咖啡馆” 度过很多时光。他不 断地给周围的常客画素描，有时直接在咖啡 馆的纸桌布上作画。 常玉也是在这一时期与莫迪利亚尼（Modigliani）、曼·雷（Man Ray） 、康布朗库 西（Constantin Brancusi）、马蒂斯（Henri Matisse）和毕加索（Pablo Picasso）相熟往 来。当藤田嗣治等 既勤于创作又善于交际的 画家将作品宣传得风生水起时，性格 低调内 敛的常玉则只埋头于自己的艺术创作，专注 于技法的精 进，力求以更加凝练的线条传 达纯粹的情感。 常玉的作品中可以看到画家对故国的依恋及 中国传统书画对 其的浸淫影响，甚至让人 遥想到17世纪国画名家八大山人 （1625-1705 ）的简约素雅。后者在画中寄寓了明末清初 改朝 换代间内心的凄寂孤郁。相隔三个世 纪之后，常玉在巴黎的侨居生活中同样感受 到远离乡土的落寞，于是笔下也自然流露出 孤寂乡愁之情。在八大山人和常玉的画中常 常可以看到被置于荒茫之境、四顾无野的鸟 兽，画家更以线条的笔法造型 形成强烈反 差，将这种沧海一粟之感渲染得益发淋漓。 画面中简练至极的线条使观者的注意力完全 集中于隐藏其中的内蕴，从兀傲到悲喜，形 愈简而情愈切。 在常玉的整个作品中出现了几个主要的主题： 动物、花卉和裸体。虽然在20世纪初的中国， 真人模特的裸体仍然是一个敏感的话题，但巴 黎的艺术自由氛围为艺术家打开了新的视角。 随着一幅幅才华横溢的习作，常玉的探索逐渐 深入成熟，注重传统国画所讲求的“气韵生 动”，而不是单纯的“应物象形”。常玉的 画作往往只需精准熟练的几笔，外形神韵皆 跃然纸上。比如其作品中反复出现的独目， 不失诙谐地以开放式的思想刻画主体，堪称 浓缩画家才 思的点睛之笔。 常玉初期的水彩作品可见其对线条描绘与体 积表现的巧妙融合，笔下的水墨线条更是散 发着传统书法的洒脱畅逸。然而常玉个人风 格的最终确立是通过油画创作实现的。有赖 于前期无数素描水彩的反复演练， 常玉在创作中似乎彻底摒弃写实透视的画法， 而采用类西方立 体派的色层堆积。与此同时， 借助象牙色调的微妙光影效果， 这位毕加索 的捍卫者以一种独特的方式成功表现出描绘 对象的 立体感。 这两幅油画：《马背上的马戏团团长先生》与 《黄茶壶》在艺术家生前被一位在比利时定 居的俄罗斯藏家购得，随后在其继承人的保 险柜中存放了30多年，今天首次与世人见面。 艺术家于1920年去了巴黎，并决定在那里定 居：他在抵达法国仅仅几年后即创作了这两 幅作品。80多年来一直在私人手中珍藏，现 在终于首次进入了公众的视野。 这两幅画作由艺术家标柱了日期--一幅创作 于1926年，另一幅创作于1927年。它们的发 现为我们对常玉作品的进一步研究和了解提 供了很大的帮助。事实上，如果说这位中国 艺术家偏好的领域一直是纸本水墨或水彩， 那么他的油画作品则是十分罕见的，并且通 常创作于其艺术生涯的后期。目前已知的资 料显示，1929年，常玉与亨利·皮埃尔·侯 谢结识，这成为他油画创作的起点。 因此， 这幅创作于1926年的《马背上的马戏团团长 先生》即是见证这位画家创作历史转折点的 重要作品。 艺术家所使用的色调充满生命力，并运用了自 信而坚定的笔法，创造出一种极具辨识度的轮 廓线条。这使得20世纪最伟大的收藏家之一亨 利·皮埃尔·侯谢深深为之着迷。 侯谢是两部小说《于勒和吉姆》（Jules et Jim） 和《两个英国人和大陆》（Deux Anglaises et le continent）的作者，随后这两部作品由弗 朗索瓦·特吕弗（François Truffaut）将其改 编成电影。这使得侯谢在去世后声名大噪。 作为一个具有好奇心和前卫精神的人，他将 生命中的大部分时间用于收藏，并热衷于将 鲜为人知的艺术家推向他的艺术小圈子。这 个圈子包括知识渊博的艺术收藏家，如格特 鲁德·斯坦和约翰·奎因。1957年，他在《 收藏家的自白：我的收藏与我》中写道："毕 加索和玛丽·劳伦森的成功鼓励了我，所以 我要开始支持其它年轻艺术家：潘纳笔下女 舞者展现出的优雅令人惊艳；日本艺术家海 老原喜之助描绘的蓝白色雪景；中国画家常 玉充满诗意的女人和马；玛仁博超现实的笔 触；和集画家与作家于一身的帕帕佐夫。” 1929年12月，侯谢与常玉相识并开启了彼此的 友谊，同时他也成为了常玉的赞助人。这一时 期是艺术家艺术生涯中最多产的时期。1932 年，亨利·皮埃尔·侯谢已经以个人名义收 藏了常玉的111幅油画和600幅素描。在画家 遇到经济困难的时候，特别是这一情况因为 长期资助常玉的其兄长的去世而加剧。与侯 谢的这次邂逅给予了他十分宝贵的支持。后 两人因在经济问题上无法达成共识而结束了 彼此的合作。 此次上拍的两件作品正是侯谢当时所收藏的 一系列作品中的一部分，他在这些作品上全 部亲手标记了自己独有的标识。它们见证了 藏家和艺术家之间的相识相知，展现了将两 人联合起来的这段意义非凡的友谊——它使 这位年轻的中国画家在巴黎得以蓬勃发展。  常玉 大事年表 1895 10月14日出生于四川省南充市。 1919 前往日本探望二哥常必诚（1883-1943），并在日本逗留年 余。 1921 如愿前往巴黎“勤工俭学”，后移居德国柏林并停留两年 1923 重返巴黎，成为第一批留法的中国艺术家。 1925 作品第一次于秋季沙龙展出（1928年第二次） 1929 与亨利•皮埃尔•侯谢相识（Henri-Pierre Roché） 1930 作品第一次于杜乐丽沙龙展出。 (19..年第二次) 1932 在约翰•法兰寇的推动下于荷兰哈勒姆市的德柏J.H画廊举 办个展。 首次于独立沙龙展出。 (后分别于 1938, 1942-1946, 1948, 1954 和 1956年展出) 1933 约翰•法兰寇替常玉于荷兰阿姆斯特丹的凡莱画廊举办个 展，展期从5月13至31日。 (1934年第二次) –参加徐悲鸿策划的巴黎国立网球场现代美术馆 （Jeu de Paume de Paris）举办的“巴黎中国绘画展” 1948 第二波中国艺术家陆续抵达巴黎，以赵无极为标志。 他与妻子谢景兰四月份到达巴黎，并于常玉家附近成立了 一间工作室。 1948 常玉前往纽约且逗留两年之久，此期间与罗勃．法兰克 （Robert Frank）结识。 1963 10月，中华民国教育部长黄季陆访问法国，他邀请常玉前 往台湾国立师范大学授课，并举行一次个人展览。 1964 4-5月间，常玉将四十二幅准备参加台北国立历史博物馆展 览的画作运往台湾。 1965 12月17日，常玉在邻居兼好友艾田（Etienne）及娜塔沙• 勒维（Natacha Levy）位于巴黎绿磨坊街的家中举行了他生 平最后 一次展览， 出席者包括他们的众多好友及一些中国艺术家 如赵无极、朱德群、潘玉良及席德进等人。 1966 8月12日常玉在其工作室內逝世，随后葬在巴黎潘桐墓园 （ Cimetière parisien de Pantin），墓地编号1296 TR 1966，位置92-13-5。 1978 巴黎Jean-Claude Riedel 画廊 «致敬常玉»展 1984 年 在巴黎大奥古斯丁街东方画廊举办的第二场纸本 作品展。 1995 台湾台北历史博物馆 «常玉»展 2004 巴黎吉美博物馆 «常玉，书写人体»展 «现代女性畅想»展 2011 巴黎赛努奇博物馆 «中国艺术家在巴黎»展 2017 台湾台北历史博物馆 «常玉»展 2018 台湾台北 細看常玉 常玉的水彩、水墨和油画作品多次出现在奥 古特公司的拍卖专场中。2015年两位私人收 藏家给予公司极大的信任，将两幅重要的常 玉作品交给奥古特公司。一幅是收藏于1960年 代的《白瓶中的两朵霍滕西娅玫瑰》（Deux gros hortensias roses, dans un vase blanc）和收 藏于1970年代的《题诗的瓶与花》（Fleurs dans un vase portant une inscription）。这两 幅作品在拍卖中大放异彩，每幅以超过四百 万欧元的成交价格创造了常玉作品的欧洲拍 卖纪录。几个月后，第三位藏家的收藏《椅 子上的裸女》（Académie de dos）也取得 了一百五十三万欧的佳绩。2017年，一位新 客户委托拍卖他的收藏《盆花》 (Pot de fleurs ou Pivoines), 奥古特拍卖公司果不负藏家的信 赖，超过八百万欧元的成交价格再次刷新了自 己创立的欧洲成交纪录。 我们的特色是通过 组织拍卖会，向国际艺术市场及公众介绍被 遗忘了几十年，从未面世的作品。 以便让每一个潜在买家都能够及时获得通知。  第203号拍品 文献 这些作品将收录到由衣淑凡编撰，立青文教基金会出版的《常玉作品集》里。  亚历山大·内萨·马莫诺夫/马林恩收藏  “亚历山大·内萨·马莫诺夫 （Alexandre Netsa-Mamonovas 1912-1991）是居住在比利 时的俄罗斯移民。1935年，他与乔治特·马林 恩（1912-2003）结婚，后者成为我的教母。 他们没有直接的后代。起初他做导游，把博物 馆的导游词翻译成俄语。然后他获得了一些艺 术知识，并在他的朋友贝内迪克特·L·戈德 施密特（1905-1972）的指导下开始在巴黎发 现某些人才，他是一个富有的银行家和艺术收 藏家。正是在这一时期，亚历山大·内萨·马 莫诺夫购买了一些 “小型”画作，如藤田嗣 治、常玉、一幅马克斯·恩斯特、一幅玛丽· 劳伦森、一幅梵高......事实证明，他购买的大 部分作品都是不错的选择。 亚历山大、乔治特、我父亲阿尔弗雷德、阿 拉（她在第一次婚姻中与我父亲结婚，在第 二次婚姻中与本尼迪克特结婚）和本尼迪克 特是好朋友，在二战前就认识。他们经常在 一起聚会。 1989年，他的朋友阿拉·萨菲娃·戈尔德施 密特去世后，阿拉和贝内迪克特·戈尔德施 密特夫妇的非凡收藏被遗赠给比利时伊克塞 勒博物馆。在波杜安国王和法比奥拉王后陛 下的大力赞助下，比利时皇家艺术博物馆举 办了一次展览（1990年9月21日至12月16日） 。这笔遗赠将加强现代艺术博物馆的收藏，其 中有一些著名的名字，如毕加索、布拉克、 米罗、夏加尔、恩索尔、达利、基里科、斯 皮利亚特等。 马莫诺夫夫妇每次需要 “用钱”的时候都会 卖掉他们的画。我记得他们在20世纪70年代 末对常玉的画作进行了评估，但其价值在当 时非常之低。从那时起，为了不让这些 “装 饰价值 “的画作在他们的银行金库中显得杂 乱无章，他们把它们挂在壁炉上方...... 我是 在亚历山大1991年去世后收到的，当时我的 教母（乔治特）仍然在世。但她当时并没有 特别重视它们。 至于马莫诺夫-马林恩（MamonovasMarynen）夫妇，他们在20世纪80年代来到 我和父亲居住的房子里生活（有一层楼是专 门为他们准备的）。” ——与乔治特·马莫诺夫·马林恩Georgette MamonoffMarynen教子的谈话摘录。自亚历山大·内萨去世后，他 在比利时的保险箱中一直保存着常玉的两幅小画（1991年  《马背上的马戏团团长先生》即是一个完美 的例子，说明艺术家有能力将这两种截然不 同的文化结合起来，并在其中分别捕捉到强 烈的元素。 通过在小幅画布上对每个主题进行特写描绘， 常玉采用了一个非常个性化的角度。这种亲 密化的视角“迫使”观者的目光集中在所选 择的对象上。没有任何其它元素的干扰，只 有构图的中心是焦点。 去背景化与线性视角相结合，不由的让人联 想到艺术家的中国血统。传统上，亚洲艺术 家们在中国水墨画中并不立体化的描绘人物 和背景，而倾向于横向平面表现。《马背上 的马戏团团长先生》则遵循这种二维空间， 不难让人联想到亚洲绢本卷轴画上传统元素 的布局。 从他在中国接受的传统美术教育中，他保留 了其中自信的姿态——使用绢本或宣纸不允 许对作品进行修改，他的作品笔触坚定而发 自内心。在西方他尝试了创作油画，这是他 在大茅舍艺术学院（Académie de la Grande Chaumière）进修时接触到的西洋美术技法， 其中也包括一些新创作视角的研习。 受到巴黎 "咆哮的二十年代 "繁华特色的极大 影响，常玉采用了一种多彩的色调，将绿色 和蓝色与黑色和棕色相混合。他在这两种文 化中选择了一个令人回味的主题。尽管动物 主题经常出现在常玉的作品中，但马仍然是 他最喜欢的动物主题。马在中国具有很强的 象征意义，在传统绘画中很有代表性，也唤 起了对其父亲——这位专门描绘马和狮子的 画家的追溯。

SANYU (1895-1966)

SANYU (1895-1966) 203 - SANYU (1895-1966)

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SANYU (1895-1966) Yellow teapot, 1927 Oil on canvas, signed upper right, dated on reverse PROVENANCE Collection Henri-Pierre Roché, Paris Collection Alexandre Netsa - Mamonoff / Marynen (avant 1940) Collection privée, Belgique (par descendance des précédents entre 1991 et 2003) BIBLIOGRAPHY This work will be included in the forthcoming edition of SANYU catalogue raisonné compiled by The Li Ching Foundation. Fellow Chinese artist Zao Wou Ki described Sanyu as follows: «Sanyu should have taught in China, he was very bold and followed his impulses. La Théière jaune affirms the artist’s unique and innovative vision. By depicting the subject in close-up on a small canvas, Sanyu offers a very personal angle on the subject. This intimate vision forces the viewer’s eye to focus on the chosen object: the yellow teapot. The setting is secondary, and only the center of the composition matters. The absence of a background combined with a linear perspective is a reminder of the artist’s Chinese origins. Traditionally, in Asia, artists do not depict figures and backgrounds in Chinese ink painting, and favor a lateral representation. In the realization of La théière jaune, the painter uses a bird’s eye view, and we can easily imagine the continuity of the table, on which the teapot rests. Sanyu was home-schooled and took classes in calligraphy with Zhao Xi (1866-1948) and in painting with his father, an animal painter, before also studying at the University of Shanghai. Finally, in France, he attended the academy of the Grande Chaumière and gradually emancipated himself from traditional Chinese art. Struck by the avant-garde and creative emulation of painters of all origins that he rubbed shoulders with at the Coupole or on the benches of the academies, he used his great mastery of calligraphy to overturn traditional Chinese codes and explore the forms and colors. Although living in France and leading a bohemian life, the painter does not fail to make a tribute to his origins. The technique of this work combines European and Asian influences. While Sanyu retains, from the West, the oil painting he discovered during his apprenticeship at the Académie de la Grande Chaumière, he keeps, from his training in China, the spontaneity of gesture. On the other hand, originating from China, tea, which has a sacred aspect, is inseparable from the Middle Kingdom. Popularized throughout the world, its ritual remains codified and China its birthplace. Marked by the Roaring Twenties and the buzzing character of Paris at that time, the artist chose to use rather traditional colors for his first oil on canvas works. The palette used allows the teapot to glow in yellow while standing out against a pinkish background. Sanyu’s work cannot be described in better words than his own in an interview by Pierre Joffroy for the Parisien Libéré: « European painting is like a rich feast where there are roasts, fried foods, all kinds of meats of various shapes and colors. As for my paintings, if you like, they are vegetables and fruits, salads too, which can serve to rest you from your usual tastes in painting. »

SANYU (1895-1966) 常玉 《黄茶壶》，1927年 布面油画，右上方有签名，背面有日期 将收录到由衣淑凡编撰的《常玉作品全集》 文献 本件作品将收录到由衣淑凡编撰，立青文教基金会出版的《常玉作品集》里。 常玉 (1895-1966) 《黄茶壶》，1927年 布面油画，右上方有签名，背面有日期 出处 巴黎 亨利·皮埃尔·侯谢 （Henri-Pierre Roché ）收藏 亚历山大·内萨·马莫诺夫/马林恩收藏 （1940年之前购入） 比利时私人收藏（于1991年-2003年从前任 藏家继承人手中购得） 相关作品文献 衣淑凡《常玉油画全集》：油画，国巨基金 会，意大利Li & Keng艺术出版社，2001年： 《茶壶》，1930年代，布面油画，27 x 19厘 米，编号58，再版第162页。 衣淑凡《常玉油画全集》：油画，第二 卷，立青文教基金会，台北，2011年：《茶 壶，1930年代，布面油画，27 x 19厘米，编 号58，再版第122页。 诚品画廊，台北 “细看常玉”，《常玉小 品图录》，第13号，再版第44页。 第204号拍品 文献 这些作品将收录到由衣淑凡编撰，立青文教基金会出版的《常玉作品集》里。  同样作为中国同胞，赵无极对常玉有自己的认 识：“常玉应该到中国教书，他非常大胆，且 追随自己的冲动 。” 作品《黄茶壶》淋漓尽 致的体现了了艺术家独特和创新的视野。 通 过在小幅画布上对每个主题进行特写描绘， 常玉采用了一个非常个性化的角度。这种亲 密化的视角“迫使”观者的目光集中在所选 择的对象——“黄茶壶”上。装饰和背景成 为附属，只有构图的中心是焦点。去背景化 与线性视角相结合，不由的让人联想到艺术 家的中国血统。传统上，亚洲艺术家们在中 国水墨画中并不立体化的描绘人物和背景， 而倾向于横向平面表现。在《黄茶壶》中， 画家采用了鸟瞰的方式，我们可以很容易地 想象到茶壶所处的桌子继续延伸。 常玉在家里接受教育，自幼跟随赵熙（1866- 1948）研习书法，并随其父——一位擅长描 绘动物的画家习画，后就读于上海大学。在 其抵达法国后到大茅舍艺术学院（Académie de la Grande Chaumière）进修 ，并逐渐从中 国传统艺术中解放出来。他被在圆顶餐厅（la Coupole） 或艺术学院长椅上与之擦肩而过的 不同国家的画家们前卫的创作所震撼。他对 书法的掌握极其精湛，却颠覆了传统的中国 艺术准则，并开始探索不同的形式和色彩。 虽然生活在法国，过着波西米亚式的生活， 但画家也时常通过作品向自己的故土致敬。 这幅作品结合了欧洲和亚洲文化的影响：虽 然常玉使用了他在“大茅舍艺术学院”学习 期间掌握的西方油画技巧，但同时也保留了 他在中国习画时挥洒自如的笔法。另一方 面，在中国，茶道具有神圣的一面，与这个 东方帝国密不可分。尽管这种饮料本身在当 时已经十分普及，并迅速在全世界范围内流 行，但是茶道仪式的流程在它的发源地中国 仍然被遵守， 尽管受到巴黎“疯狂年代”繁华特色的极大 影响，常玉反而选用了相当传统的颜色来创 作他的第一批油画。作品中采用的色调使得 茶壶在粉红色的背景中脱颖而出，呈现出明 亮的黄色，熠熠生辉。 对常玉的作品，没有比他自己在一次接受皮 埃尔·约弗洛伊在《巴黎自由报》的采访中 描述更贴切的了："欧洲油画就像一场盛宴， 有烤肉、炸物、各种形状和颜色的肉类。至 于我的画，你可以认为它是蔬菜和水果，又 或者是一道沙拉，可以起到让你在常见油画 的品味中休息一下的作用。"

SANYU (1895-1966) 204 - SANYU (1895-1966)

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SANYU (1895-1966) Femme allongée, bras droit derrière le dos Ink on paper 28 x 45.5 cm - 11 x 17 7/8 in. Michel Habart’s Collection Michel Habart, a writer and collector At the end of the sixties, every day of the week, my father Michel Habart used to walk through his « golden triangle » as he liked to define his unchanging Parisian itinerary. From his home near the garden of the Palais Royal, he would walk to the rue de Richelieu to the Bibliothèque nationale and then stroll to the Hotel Drouot. The Palais Royal garden is his place of reverie where he can sometimes be found « making the statue », surrounded by sparrows that peck at him from everywhere. At the National Library, he works on his translations or on his research, articles, books and poems. Polyglot, he has translated plays by the German Bertolt Brecht and the Irishman Sean O’Casey for Jean Vilar’s Théâtre National Populaire. Fluent in classical and dialectal Arabic as well as Berber, he wrote « Histoire d’un parjure » (History of a Perjurer) in 1960 during the Algerian War, which denounced the violence of the colonial enterprise in 1830.  With an insatiable curiosity, Michel Habart assiduously frequents the Hotel Drouot. He likes to discover these works of art which, according to him, « appear for a moment in broad daylight, only to disappear the next moment ». In this unique museum, he reveals himself as an enlightened art lover with eclectic tastes : acquiring a Malagasy sculpture as well as a rare edition of the Encyclopaedia or a play by a forgotten 19th century author. At that time, it was during one of his morning visits to Drouot that he discovered a suitcase full of drawings by Sanyu. I remember my father’s beaming face when he returned home with his treasure under his arm. Afterwards, he literally became ‘inhabited’ by these drawings. His enthusiasm translated into an endless source of commentary, on the simplicity of the line, the sensuality always in motion that emanated from these women of the twenties and thirties. He drew parallels between Chinese calligraphy and these innumerable nudes, evoking Matisse, Maillol or Henry Moore... Among the drawings were also portraits and other women wearing cloche hats, applied to their sketches that Sanyu had drawn at the Académie de la Grande Chaumière. On the trail of Sanyu Michel Habart tried to find out more about the artist. In the 1970s the Internet and Google did not exist. Neither in the National Library nor on telephone lists did Sanyu’s name appear. He was unknown, even ignored by the art world. Only the gallery owner Jean Claude Riedel knew and admired the painter. He was convinced of the artistic value of his work, spoke of it magnificently, but above all wanted to acquire the drawings. He insisted on numerous occasions, which had the effect of annoying my father, who had no desire to part with them. He liked to share his enthusiasm and took pleasure in showing the drawings to his friends, including the painters Kijno, Guermaz and Ginette Signac (daughter of the impressionist painter Paul Signac). The poet and journalist Henri Kréa suggested that he contact a close friend of Sanyu’s, the potter Robert Dahan. I remember that day in October 1981 when my father received his letter which brought Sanyu back to life : “He was poor...so he always went on foot... or almost” “When we went to his house...he would cook you dishes...I remember stuffed fish...We didn’t dare touch the dish because it was so well presented...We had the impression of violating a painting...” Albert Dahan’s testimony captured the personality of the painter in all its strength, humour and poetry: “His last painting...I dare say it was born of a conversation we had together...The artist’s solitude...It was a tiny elephant...running through an immense desert...He pointed his finger at the animal and said to me: “That’s me! And to laugh...”.  It was in the early eighties that Michel Habart met Antoine Chen, a young Chinese from Taiwan, with whom he became friends and quickly shared the same passion. These two could talk for hours about Sanyu. They tried to fill in the gaps in the painter’s biography, never agreed on the dates, but it always ended in great laughter.... Antoine Chen began to photograph about a hundred drawings. Out of curiosity, he went to the studio where Sanyu had lived and worked at 28 rue de la Sablière. He was lucky enough to meet Sanyu’s neighbour, Hélène Pachkoff, who was also a painter, and her testimony, as well as an album of photographs of the painter that Madame Pachkoff entrusted to Antoine, were extremely valuable for the elaboration of the first book written in Chinese about Sanyu. This book entitled “A Nostalgic Song” was to accompany an exhibition of drawings and watercolours from the Habart collection which took place in Taipei in May 1982 at the Printmaker’s Gallery. Our two accomplices then organised a second exhibition in Paris of works on paper at the Galerie d’Orient, rue des Grands Augustins, in May 1984. The choice of these two places had a symbolic value with regard to the work and life of the artist. On October 13, 1987, a page was turned... Michel Habart, who liked to describe himself as “a wanderer”, passed away quietly in his sleep. I remembered two lines from his poem “Dernière Clownerie” dedicated to Dylan Thomas whom he had met in London in 1943 : “Before you go out, light up, you crazy flames, My garments laden with their false medals.” Today, the painter Sanyu, who found it so difficult to make a living from his art, is recognised throughout the world, particularly in Taiwan and in People’s China. It is as if, a century later, he had returned to the country of his ancestors. Didn’t he say to his painter friend Hélène Pachkoff: “I’m sure I’m Chinese. From which China ? That doesn’t interest me. But in any case, I am Chinese”.  From the early 1920s, Sanyu produced more than 2000 drawings and watercolors. He drew constantly, and was particularly inspired by the women around him, whether they were classmates or models. It was then that he created the works on paper that we are presenting today. They adopt more or less the same format, probably that of a paper tablecloth from one of the Parisian cafés, and they allow us to discover the world of the artistic academies of the Parisian district of Montparnasse. When he arrived in Paris, Sanyu preferred to distinguish himself from his Chinese compatriots and did not enroll in a prestigious art school such as the Ecole des Beaux-Arts de Paris or the Académie Julian. He ventured more willingly into the cafés of the Montparnasse district and attended the less traditional Académie de la Grande Chaumière from 1925 onwards. This Academy, founded in 1902, was in opposition to the academicism of the Ecole des Beaux-Arts. On the contrary, it encouraged its students to freely experiment with subjects and techniques. This unconstrained environment allowed him to learn to sketch from live models and in particular to try his hand at the nude, which was very controversial in his native country. He strolled in the cafes of his neighborhood where he observed the customers and made sketches in a few minutes, sometimes on simple paper doilies. These could be recognized by the edges cut into semi-circles on the 206, 207, 211 lots. From the famous Habart Collection, four of these drawings are of women in clothing. Some are sitting, bent over, one seems to be drawing. They are snapshots of the artist’s immediate, everyday environment. In the middle of an exercise session, he was probably more interested in his fellow female artists than in the model of the day. Another of his sketches, lot 212, represents a female face, sketched in a few lines. His Chinese ink drawings incorporate the heritage of his calligraphy training with his father in the family home in Nanchong. Indeed, his line is modulated by the use of the brush and made alive by the movement of the wrist specific to the practice of calligraphy. The work then shows a great spontaneity that the pencil does not allow as much, not to mention the intensity of the black that ink offers. The latter was very well suited to capture the fluidity of the curves of a naked body, as shown in Lots 205 and 210. Sanyu’s drawings blend his two artistic backgrounds. He uses his traditional Chinese freehand fluid line to express the abstraction and the purification of the Parisian avantgarde of the early 20th century

SANYU (1895-1966) 常玉  纸本水墨 《右手放在身后侧卧的裸女》 哈巴特收藏 "在20世纪60年代末，每一天，我的父亲米歇 尔·哈巴特都走出房门去他心目中的 "金三 角"地带散步，他喜欢把这称为他不变的巴 黎之旅。他从离皇宫花园不远的家里出来， 步行去黎塞留街，然后到国家图书馆，最后 漫步到德鲁奥拍卖厅。"皇宫花园是他可以 遐想的地方，有时人们很惊讶的发现他在那 里像座“雕像"一样静止不动，周围有麻雀 从各处啄他。 在国家图书馆，他从事翻译工作或研究文章、 书籍和诗歌。作为一名多语言者，他为“让· 维拉尔国立人民剧院”翻译了德国人贝托尔 特·布莱希特和爱尔兰人肖恩·奥凯西的戏 剧。他精通古阿拉伯语及阿拉伯方言，以及 柏柏尔语。1960年在阿尔及利亚战争期间他 撰写了《一个伪证的故事》（Histoire d’un parjure），谴责了1830年殖民地公司的暴力。 米歇尔·哈巴特有一颗永不满足的好奇心。 作为德鲁奥拍卖厅的常客，他喜欢在此发掘 艺术收藏品。用他的说法——这些作品 "在 光天化日之下出现片刻，然后在下一秒转瞬 即逝。” 在这个为期一天的“博物馆”里， 他展示了自己作为一个开明的艺术爱好者的 不拘一格的品味：拍下马达加斯加的雕塑以 及罕见的《百科全书》；或是被遗忘的19世 纪作家的剧本。 此时，就在他去德鲁奥拍卖厅的一个上午，他 发现了一个装满常玉画作的手提箱。我父亲 腋下夹着他刚找到的“宝贝”回到家里，我 至今仍记得当时他满面春风的样子。之后， 他的内心似乎被这些画 "占据 "了。他的热情 被转化为对这些画作无尽的评论与赞美：称 赞画作线条简洁，以及这些二三十年代的女 性身上散发出来充满活力的性感魅力。他把 中国书法和这些裸体绘画相提并论，并称这 些作品让人想起马蒂斯、马约尔或亨利·摩 尔......在这些画中，还包括一些肖像画和其他 戴着圆顶帽的女性，这是常玉在“大茅舍学院 （Académie de la Grande Chaumière）” 进 修绘画时所使用的形象。 追随常玉的脚步 米歇尔·哈巴特试图找出更多关于这位艺术 家的信息。在1970年代，互联网和谷歌还不 存在。无论是在国家图书馆还是在电话簿上， 都没有出现常玉的名字。他不为人知，甚至 被艺术界所忽视。只有画廊老板Jean-Claude Riedel知道并欣赏这位画家。 他对常玉作品的艺术价值深信不疑，说得头 头是道，但最重要的是他想购买这些素描作 品。他屡次坚持，这让我父亲十分恼火，因 为他根本不想和这些作品分开。 我父亲喜欢分享他的这份热情，并乐于向他的 朋友们展示这些画，包括画家基诺、盖尔马兹 和吉内特·西尼亚克（印象派画家保罗·西尼 亚克的女儿）。诗人兼记者亨利·克雷亚建 议他与常玉的一位密友——陶艺家罗伯特· 达汉联系。 我记得1981年10月的那一天，父 亲收到了后者的来信，这使得常玉的人生得 以展现在世人面前： «他很穷......所以他总是步行......或者几乎是步 行» ， «当我们去他家的时候......他会给下厨 做菜......我记得他做了肉釀鱼......可是我们根本 不敢碰那道菜，因为它摆盘太精美......我们有 一种破坏一幅画的感觉...... » 阿尔伯特·达汉的回忆捕捉到了画家个性中 全部的力量、幽默和诗意："他的最后一幅油 画......我敢说它起源于我们一次谈话......谈到艺 术家的孤独......那是一头十分微小的小象...... 在巨大的沙漠中奔跑......他用手指着动物， 对我说：‘那就是我！’ 然后哈哈大笑......”  20世纪80年代初，这位作家兼收藏家遇到了安 托万·陈，一位来自台湾的年轻华人，他也 对常玉着迷。对常玉作品共同的热情使得他 们很快成为挚友。这两个人可以聊上几个小 时关于常玉作品的话题。他们试图填补画家 传记中的空白，却从未在日期上达成一致， 但总是在爽朗的笑声中结束谈话。 安托万·陈承诺为大约一百张画拍摄照片。 出于好奇，他去了萨布利埃街28号常玉曾居 住和工作过的工作室。他有幸见到了常玉的 邻居海伦·帕克夫——她也是一位画家。帕 克夫夫人对常玉的回忆以及她托付给安托万 的一本画家的相册非常的珍贵，这使得第一 本用中文撰写的关于常玉的书籍得以出版。 这本名为 《怀旧之歌》的书籍是为了配合 1982年5月在台北版画艺术馆举办的“哈巴特 收藏”的素描和水彩画画展而出版。 这两位好友随后于1984年5月在巴黎奥古斯 丁大街的“东方画廊”举办了第二场常玉纸 本作品展。这两场展览的选址对艺术家的工 作和生活具有象征意义。 1987年10月13日，又一页书被翻过去......米歇 尔·哈巴特，这个喜欢把自己描述为 "游手好 闲"的人，在睡梦中悄悄地离开了。我想起了 他献给于1943年在伦敦结识的迪伦·托马斯的 诗《最后的丑角》中的两句话： "在你逝去之前，点燃吧，你这团疯狂的火 焰，我的衣袍上挂满了他们的假奖章。” 曾几何时，画家常玉依靠艺术难以谋生；而 今他的作品在全世界都得到了广泛的认可。 尤其是在中国大陆和台湾。仿佛在一个世纪 之后，他又回到了他的故土。正如同他对画 家朋友海伦·帕克夫说："我确信我是中国 人。至于究竟来自哪个中国？我对这一点不 感兴趣。反正，我就是中国人。”  从20世纪20年代初开始，常玉创作了2000多 幅素描和水彩画。他不断地作画，特别是受 到他周围的女性的启发，不管是女性同学还 是女模特都给予他许多灵感。在这一时期， 他创作了我们今天所展示的纸本作品。它们 的尺寸大致相同，很可能是巴黎某家咖啡馆 的纸桌布。它们不难让我们感受到彼时巴黎 蒙帕纳斯区的艺术学院氛围。 到了巴黎后，常玉更愿意将自己与中国同胞 区分开来，没有进入巴黎美术学院或朱利安 学院等著名传统艺术院校。相反，他更愿意 进入蒙巴纳斯区的咖啡馆去感受新派的艺术 氛围，并从1925年起在非传统的“大茅舍学 院”（l’Académie de la Grande Chaumière） 进修。这所学院成立于1902年，与传统美术 学院的学术主义分庭抗礼。相反，它鼓励其 学生自由地尝试各种主题和技法。这种无拘 无束的环境使常玉能够从人体模特身上学习 写生，特别是尝试裸体写生，当时这种绘画 方式这在他的故土是非常有争议的。常玉漫 步到附近的咖啡馆，观察里面的客人，并在 几分钟内画出素描，有时在简单的纸桌布上 作画。这些可以通过206、207或211拍品上， 半圆形切割的治本边缘来识别。 这些画中有四幅来自著名的“哈巴特私人收 藏”：描绘了不同的女性。她们中有些人坐 着，有的弯着腰，还有一位似乎在画画。这 些作品是艺术家对眼前日常环境的某个瞬间 的捕捉。也许是在一次课上写生时，常玉对 他的学艺术的同窗比对当天的写生模特更感 兴趣而因创作了这幅作品。他的另一幅素描， 拍品212，表现的是一张女性面庞，用了了几 笔线条即勾勒出来。 他的水墨画融入了他自幼跟随父亲在南充的 家中研习书法的痕迹。事实上，他通过画笔 的使用来调节作品中的线条，并通过手腕的 运转给作品中的人物带来了生命，而这些都 是书法艺术的特点。同时，对于水墨的运用 展现出铅笔无法做到的巨大的自发性，更不 用说水墨所提供的黑色的强度。后者非常适 合用来刻画流畅的裸体曲线，如205和210拍 品所示。 常玉的绘画融合了他的两种艺术背景。他用 传统的中国写意流畅的线条来表达20世纪初 巴黎前卫艺术的抽象与纯粹。

SANYU (1895-1966) ERRATUM - 205 - SANYU (1895-1966) - ESTIMATION 24 000 / 30 000€

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SANYU (1895-1966) Au recto : Femme debout de profil, mains derrière la tête + tabouret Au verso : Femme debout de profil, mains derrière la tête Pencil on paper (two sides) 50 x 29.5 cm - 19 5/8 x 11 5/8 in.

SANYU (1895-1966) 勘误表 - 207 - Sanyu (1895-1966) - 估价 18 000 / 22 000 欧元

SANYU (1895-1966) ERRATUM - 207 - SANYU (1895-1966) - ESTIMATION 18 000 / 22 000€

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SANYU (1901-1966)

SANYU (1901-1966) ERRATUM - 209 - SANYU (1895-1966) - ESTIMATION 25 000 / 35 000€

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SANYU (1895-1966) Deux femmes assises Pencil on paper, signed lower right 41.5 x 24.5 cm à vue - 16 3/8 x 9 5/8 in by sight PROVENANCE Collection Jean-Claude Riedel Collection privée depuis les années 1980, Paris (acquis auprès du précédent) BIBLIOGRAPHY This work will be included in the forthcoming edition of Sanyu's catalogue raisonné compiled by the Li Ching Foundation.

SANYU (1895-1966) 两个坐着的女人 纸上铅笔，右下角有签名 41.5 x 24.5厘米（见图） - 16 3/8 x 9 5/8英寸（见图）。 证据 收藏品 Jean-Claude Riedel自1980年代以来的私人收藏，巴黎（从前者获得）。 文献 本件作品将收录到由衣淑凡编撰，立青文教基金会出版的《常玉作品集》里。 相关工作的参考书目 这幅作品将被转载到李青基金会的黄丽达目前正在准备的Catlogue raisonné中。 黄丽达，《三余》，《图画目录》，李菁文教基金会，台湾，2014年，D3062，n.D3063和n.D3064  第213号拍品 文献 这些作品将收录到由衣淑凡编撰，立青文教基金会出版的《常玉作品集》里。

SANYU (1895-1966) 213 - SANYU (1895-1966)

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ZAO WOU-KI (1920-2013)

ZAO WOU-KI (1920-2013) Hortensias, 1953 Lithographie couleur, signée en bas à droite et numérotée 30/95 en bas à gauche 49.7 x 64.8 cm 19 11/16 x 25 19/32 in. PROVENANCE Collection privée, Vaucluse BIBLIOGRAPHIE AGERUP Jorgen | Zao Wou-Ki, The Graphic Work, A catalogue raisonné 1937-1995, Edition Heede et Moestrup, Copenhague, 1994 | oeuvre répertoriée sous le n°82

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LE THI LUU (1911-1988) La cueillette du thé Ink and gouache on silk, signed lower right 45.8 x 38.4 cm - 18 x 15 1/8 in. Lê Thị Lựu, a painter born in Vietnam, was one of the very few women to enter the Fine Arts School of Indochina in Hanoi, and the first to have a career as a professional artist. She successfully threw off the Confucian yoke that still weighed women down in the 1930s. With the artists Mai Trung Thứ, Lê Phổ and Vũ Cao Đàm, she was one of the Vietnamese quartet who went to live in France in the late 1930s. She was particularly drawn to subjects involving women and children. Her style was relatively classical, but she emphasised the expression of emotion through her gentle line and colour, and her work contributed to the emergence of Vietnamese modernism. Victor Tardieu, director of the Indochina Fine Arts School, even compared her style to Cézanne’s. Like other women painters who have marked their centuries, such as Artemisia Gentileschi in early 17th century Italy or Berthe Morisot, the first female impressionist painter, Lê Thị Lựu stands out as one of the rare female artists, graduated from the Indochina School of Fine Arts. Although she came from a conservative background, her avant-garde ideas were expressed from the age of 14 where she manifested her desire to paint. Determined to join the training directed by Victor Tardieu, she trained in painting with the images she found in libraries and thanks to her servant who served as a model. Her talent allowed her to join the school and she was soon noticed by the local press. After teaching in various art schools in the country, she met up with her former classmates in France in 1940. Her marriage took her to Guinea to be with her husband until 1945 before she returned to France for good. The work of Lê Thị Lựu, remains rare and discrete. If the treatment of the female figure is a theme dear to the artists of the Ecole des BeauxArts, Lê Thị Lựu stands out for her feminine vision. Faced with comrades inspired by maternal portraits or even elegant women in activity, the artist also depicts women at work as in La cueillette du thé. Far from young women at the toilet or adorned with jewelry, Lê Thị Lựu pays tribute here to these working women. The majority in this rural country, they lose none of their grace in this composition. A woman in the foreground dressed in traditional garb harvests leaves in a wicker basket. In the background, other women are busy with the same task. The fine features of their faces, but also their clothing, underline their Asian origin. The artist’s style is expressed through a clever mix of influences. Relying on the typically Asian medium of silk, Lê Thị Lựu employs gouache in small, furtive and spontaneous strokes. The colorful touch made of small commas has an impressionistic air. Her powdery palette distinguishes her from that of her male colleagues. Playing with the different tones of blues, greens or even pink, Lê Thị Lựu brings a softness and a unique sensitivity to her work. A feminist before her time, Lê Thị Lựu stands out as an essential figure in the history of artists from the Indochina School of Fine Arts by leaving posterity a testimony endowed with an enlightened and particularly endearing eye.

LE THI LUU (1911-1988) 黎氏秋 《采茶》  绢本水墨水彩 45.8 x 38.4 cm - 18 x 15 1/8 in. 水墨和水粉画在丝绸上，右下角有签名 证据 私人收藏，法国(1971年获得) 私人收藏，法国(1990年通过血统传递) Lê Thị Larial是越南画家。她是设在河内的印度支那美术学校为数不多的女学生之一，也是第一个从事职业画家的人。Lê Thi Luu是成功摆脱儒家枷锁的妇女之一，儒家枷锁在20世纪30年代仍很强大。她与画家Mai Trung Thứ、Lê Phổ和Vũ Cao Đàm一起组成了这个越南四重奏，并在1930年代末定居法国。她特别喜欢涉及妇女和儿童的主题。她的风格是相当古典的，但通过线条和色彩的柔和性突出了情感的表达。她的作品是越南现代主义诞生的见证。据说，印度支那美术学院院长维克多-塔迪厄（Victor Tardieu）甚至将Lê Thị Lự的风格与保罗-塞尚相比。 就像其他标志着他们世纪的女画家一样，如17世纪初意大利的阿尔特米西亚-真蒂莱斯基或第一个印象派女画家贝尔特-莫里索，Lê Thị Lu作为罕见的毕业于印度支那美术学校的女艺术家之一而脱颖而出。虽然她来自一个保守的背景，但她的前卫思想从14岁开始就表现出来了，当时她表现出对绘画的渴望。她决心参加维克多-塔迪厄开办的培训课程，利用她在图书馆找到的图片进行绘画练习，并感谢她的仆人担任模特。她的天赋使她得以进入学校，并很快受到当地媒体的关注。在国内各艺术学校任教后，她于1940年在法国与她以前的战友们相聚。她的婚姻将她带到几内亚与她的丈夫在一起，直到1945年她才永远回到法国。汉字Lee Thị Lu的作品仍然是罕见的机密。 虽然对女性形象的处理是美术学院艺术家们所珍视的主题，但Lê Thị Lu因其女性化的视野而脱颖而出。面对受母亲肖像启发的同志，甚至是活动中的优雅女性，艺术家也表现工作中的女性，如《茶聚》。远离厕所里的年轻女性或珠宝装饰，Lê Thị Lự在这里向这些劳动妇女致敬。在这个农村国家的大多数人，他们在这种构成中没有失去任何优雅。前景中一位身着传统服装的妇女正在用柳条篮子采摘树叶。在背景中，其他妇女正在做同样的工作。他们面部的精细特征，以及他们的服装，都强调了他们的亚洲血统。艺术家的风格是通过巧妙地混合各种影响来表达的。依靠典型的亚洲丝绸媒介，Lê Thị Lự用水粉画进行小的、诡秘的和自发的触摸。由小逗号组成的彩色笔触有一种印象派的气息。她的粉色调色板使她与她的男性同事区分开来。玩不同的蓝色、绿色或粉红色，Lê Thị Lự给她的作品带来了一种柔和和独特的敏感性。作为一个超前的女权主义者，Lê Thị Lự在印度支那美术学校的艺术家历史上确立了自己的地位，以开明和特别可爱的眼光给后人留下了见证。 汉字Lê Thị Lu是个很好的例子。我想说的是，如果你是一个人，那么你就会发现，你是一个很好的人。Lê Thị Lựu là một trong những phụ nữ thành công trong việc thoát khỏi ách thng trị của Nho giáo vẫn còn ghi dấu trong những năm 1930.在1930年的时候，越南就已经有了Mai Trung Thứ, Lê Phổ và Vũ Cao Đàm, bà thuộc về bộ tú những.ngương ở Pháp vào cuối những。Bà đặc biệt thích những chủ đề liên quan đến phữ và trẻ em。如果您想了解更多信息，请联系我们。你可以在你的网站上找到关于越南的信息。维克多-塔迪厄，在他的作品中，我们可以看到他对保罗-塞尚（Paul Cézanne）的看法。 在这个问题上，Artemisia Gentileschi和Berthe Morisot的作品都是如此，而Artemisia Gentileschi的作品则是在17世纪的时候才出现的。Lê Thị Lự nổi bật khi là một trong những nữ họn phương hiếm hoi tốt nghiệp trường Cao đằng Mỹ thuật Đông

LE THI LUU (1911-1988)

LE THI LUU (1911-1988) 221 - LE THI LUU (1911-1988)

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MAI trung THU (1906-1980) Romance au clair de lune, 1943 Ink and color on silk, signed and dated lower right 55 x 46.4 cm - 21 5/8 x 18 1/4 in. « Music is the language of emotions » wrote Immanuel Kant. Mai Trung Thứ, a Vietnamese artist, shares this sensitivity for music with the Prussian philosopher. He discovered traditional music during his transfer to Hué as a high school art teacher. His stay in the imperial capital heart allowed him to frequent musicians and to practice the độc huyền, -traditional stringed instrument- and the transverse flute. This passion for music will never leave him, since upon his arrival in France he continues to play and participates in concerts especially for radio or television programs. If painting remains his main activity, it is carried out in music. The choice of his themes is marked and female musicians are regularly represented. Romance au clair de lune is distinguished by the representation of a couple. The young man plays the flute beside a pensive young woman, mysteriously holding a letter in her hand. This scene’s romanticism is reinforced by the moonlight that gently illuminates the characters. In the distance, the Vietnamese countryside rises up. The bamboo leaves and the hilly land reinforce the sweetness of this moment while emphasizing the beauty of the Vietnamese landscape. References to Mai Trung Thứ’s native land are also evoked through the traditional outfits worn by the couple. Although made in 1943, the year in which the artist settled permanently in his apartment on Rue du Parc in Vanves, his Asian roots are reflected in this work. The use of silk but also the treatment of faces responding to the Asian canons allow the artist to express his personality. A graduate of the first class of the Hanoi School of Fine Arts, he is the one who has been able to preserve his singularity the most.

MAI trung THU (1906-1980) 梅忠恕 《月下罗曼史》 绢本水彩水墨 55 x 46.4 cm - 21 5/8 x 18 1/4 in. 夏洛特-阿古特斯-雷尼尔目前正在为巴黎的亚洲艺术家协会准备的艺术家目录中，将向买方提供一份收录证书。 证据 1940年之前被派驻印度支那的一名高级公务员的收藏品，他结识了这位艺术家，这种友谊在他们回到法国后继续保持。私人收藏，法国（由前者的血统）。 伊曼纽尔-康德写道："音乐是情感的语言"。越南艺术家Mai Trung Thứ与普鲁士哲学家一样，对音乐有这种敏感性。他在被派往惠州担任高中艺术教师时发现了传统音乐。他在帝都的中心地带逗留，使他能够经常接触到音乐家，并练习传统的弦乐器độc huyền和横笛。这种对音乐的热情永远不会离开他，因为在他到达法国后，他继续演奏并参加音乐会，特别是为广播和电视节目演奏。如果说绘画仍然是他的主要活动，那么它是在音乐中进行的。他对主题的选择很有特点，女性音乐家经常被代表。月光下的浪漫是以一对夫妇的代表为特征的。年轻人在一个沉思的年轻女人身边吹笛子，她的手里神秘地拿着一封信。月光温柔地照亮了人物，加强了这一场景的浪漫主义。在远处，越南的乡村升起。竹叶和丘陵土地加强了这一时刻的柔和性，同时强调了越南风景的美丽。 通过这对夫妇所穿的传统服装，也唤起了对Mai Trung Thứ的故土的回忆。虽然创作于1943年，这一年艺术家在Vanves的rue du Parc的公寓里永久定居，但她的亚洲根基在这件作品中得到了体现。丝绸的使用和按照亚洲教规对脸部的处理使艺术家能够表达他的个性。他是河内美术学院第一届毕业生，是最成功地保持其独特性的人。 "伊曼纽尔-康德（Immanuel Kant）说："我的意思是说，我是在为我自己辩护。Mai Trung Thứ, họn phương định định định định định định định định.您可以在这里找到您所需要的信息。在这一过程中，我们可以看到，在我们的工作中，有很多人都在为我们的工作而努力。我想说的是，我们应该把我们的工作做得更好。如果您想了解更多信息，请联系我们，我们将为您提供更多信息。Hội họn phương án - công việc chính của công, cũng đền thể hiện bằng âm nhạc.Chủ đề trong tranh của ōng mang hơi hưới âm nhạc và thường xuyên có sự xuất hiện của các nhạc sĩ。Tình ca ánh trăng thể hiện hình ảnh một cặp tình nhân。Chàng trai thổi sáo bên cạnh một thiếu nữ đang suy tư， trên tay cm một bức thư bí ẩn。ự lãng mạn trong tranh đưLc ghi dấu bởi ánh trăng sáng nhẹ nhàng chiếu rọn cặp tình nhân.在这里，我想说的是，在越南，我们要做的就是把我们的工作做得更好。如果您想了解更多信息，请联系我们。 在Mai Trung Thou看来，这是个很好的机会。1943年，在Vanves公园街，有一个叫 "Châu Á "的地方，那里有一个叫 "Chuyến "的人在那里工作。Sử dụng chất liệu lụa và phác họn phân dung các nhân vật hội tụ những tiêu chuẩn của vẻ đẹp á đông giúp họn thể hiện đúLc cái tôi cá nhân.在曹德旺的领导下，曹德旺为自己的事业做出了贡献。

MAI trung THU (1906-1980)

MAI trung THU (1906-1980) 222 - MAI TRUNG THU (1906-1980)

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ATELIER DE PH?M H?U (1903-1995) Rectangular box in lacquered wood with highlights of gold, red lacquered interior, with decor of traditional village, stamp of the atelier on the back 7 x 25 x 35 cm - 2 3/4 x 9 3/4 x 13 3/4 in.

ATELIER DE PH?M H?U (1903-1995) 长方形木箱，涂有金色亮点，内部为红色漆面，装饰有传统村落，背面有作坊印章。 7 x 25 x 35 cm - 2 3/4 x 9 3/4 x 13 3/4 in. 证据 1940年前派驻印度支那的一位高级官员的收藏品 私人收藏，法国（通过前主人的血统）。

ATELIER DE PH?M H?U (1903-1995)

ATELIER DE PH?M H?U (1903-1995) 223 - ATELIER DE PHAM HAU (1903-1995)

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Le Pho (1907-2001) Jeune fille au treillage de bétel Ink and color on silk, signed upper left titled on the back 30 x 24 cm - 11 3/4 x 9 3/8 in. Considered as one of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. Lê Phổ assimilated to perfection the teachings of his teachers. The school promoted Vietnamese artistic traditions such as painting on silk or lacquer, while sensitizing this new generation of artists to Western history and artistic techniques. Indeed, one can read with ease the influences of the Italian Primitives or the Impressionists in Lê Phổ ‘s works. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the Ecole des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly gained a certain notoriety. Produced around 1940, Jeune fille au treillage de bétel is a remarkable example of the artist’s perfect mastery of ink and colour on silk. This technique was learned during his training at the Indochina School of Fine Arts and was developed under the guidance of the school’s director, Victor Tardieu. The process consists of applying black ink, coloured ink or gouache to silk in successive washes, and brings an unstoppable softness and delicacy to the works. The works of Lê Phổ, which are marked by an evolution of his style over the years, give pride of place to silk, particularly in his early years of practice. The work presented for sale is part of this period. Although the representation of the female model is a constant in his work, the artist endeavours to introduce distinct elements making each composition a unique painting. In Jeune fille au treillage de bétel (Young Girl with Betel Trellis), Lê Phổ offers a rare vision in which his attachment to his native land is manifested through various symbols. A young woman stands on a trellis made of bamboo, an Asian plant par excellence. Around this trellis is wrapped Bethel, a liana that also originates from South-East Asia where it is often used as a chewing paste. The young woman’s face is in keeping with the Asian canons: oval-shaped, with almond-shaped eyes and a thin mouth to complete this delicate portrait. Her porcelain complexion contrasts delicately with the ebony of her hair. She wears a turban characteristic of Vietnamese women. If the references to Asia are undeniable, other influences can be guessed. Marked by the discovery of the old masters and more particularly by the Italians of the 16th century, Lê Phổ also relies on the mannerist lesson. From these painters, he retains the serpentine line that undulates here from the entangled hands to the body position. The movement of the scarf and its detail evokes the wet drapery of the Greeks. Through a clever mix of influences, Lê Phổ manages to pay homage to his culture while honouring the ancients, but above all he immortalizes his vision of female beauty

Le Pho (1907-2001) 年轻女孩与槟榔树 丝绸上的水墨和色彩，左上方有签名，背面有标题 30 x 24 cm - 11 3/4 x 9 3/8 in. 夏洛特-阿古特斯-雷尼尔目前正在为巴黎的亚洲艺术家协会准备的艺术家目录中，将向买方提供一份收录证书。 证据 私人收藏，法国 Lê Phổ被认为是越南现代艺术的领军人物之一，他于1907年出生在Hà Tây省一个受人尊敬的官吏家庭，他的父亲是最后一个越南总督。他表现出对绘画的倾向性，于1925年加入了印度支那美术学校的第一期课程。他很快就被学校的主任和创始人维克多-塔迪欧注意到了，他一生都对他保持着强烈的感情。Lê Phổ把他的老师的教导吸收得很完美。该学校重视越南的艺术传统，如丝绸画和漆器，同时也让这批新一代的艺术家了解西方的艺术历史和技术。事实上，人们很容易在Lê Phổ的作品中读到意大利原始派或印象派的影响。1931年，他来到法国，在国际殖民地展览会上展示他的作品。他选择在巴黎呆了一年，进入美术学院学习，然后多次到欧洲旅行。他于1933年回到越南，在河内的印度支那美术学校任教。1937年，他决定在法国永久定居，并很快获得了一定的名声。 创作于1940年左右的《槟榔树下的少女》是艺术家在丝绸上完美掌握水墨和色彩的一个杰出范例。这种技术是他在印度支那美术学校培训期间学到的，并在该校校长维克多-塔迪厄的指导下得到发展。这一过程包括将黑墨水、彩色墨水或水粉连续洗刷在丝绸上，给作品带来了不可阻挡的柔软和细腻。Lê Phổ的作品，以他多年来的风格演变为标志，特别是在他早期的实践中，丝绸被放在了最重要的位置。提交出售的作品是这个时期的一部分。 虽然女性模特的表现在他的作品中是一个常态，但艺术家努力引入独特的元素，使每一个构图成为独特的绘画。在《带着槟榔树的少女》中，李菲提供了一个罕见的视野，在其中他对他的故土的依恋通过各种符号表现出来。一位年轻女子站在由竹子制成的花架上，竹子是亚洲的一种优秀植物。在这个花架周围包裹着贝特尔，这是一种也来自东南亚的藤本植物，在那里它经常被用作咀嚼膏。年轻女子的脸符合亚洲的典范：椭圆形，杏仁形的眼睛和一张薄薄的嘴，完成了这幅精致的肖像。她瓷器般的肤色与乌黑的头发形成了微妙的对比。她戴着越南妇女特有的头巾。如果说对亚洲的引用是不可否认的，那么其他的影响也是可以猜到的。Lê Phổ的标志是发现老大师的作品，尤其是16世纪的意大利人，他也借鉴了曼纳主义的教训。从这些画家那里，他保留了蛇形的线条，在这里从纠缠在一起的手到身体位置的起伏。围巾的动作和细节让人想起希腊人的湿帘子。通过巧妙地混合各种影响，Lê Phổ设法向他的文化致敬，同时向古人致敬，但最重要的是他使他对女性美的看法不朽。 我们的目标是，让所有的人都能享受到我们的服务，让所有的人都能享受到我们的服务，让所有的人都能享受到我们的服务。Lê Phổ sinh năm 1907 tại tỉnh Hà Tây trong một gia đình quan lại ương kính nể, cha là kinh lươc sứng cùa Bắc Kỳ。在1925年的时候，他就已经开始为Trường MỹThuật Đông Dương提供服务。维克多-塔迪厄（Victor Tardieu），他的父亲，以及他的妻子，都是一个很好的例子。Lê Phổ tiếp thu một cách hoàn hảo những lời dạy của những ngời thầy của mình.如果您想了解更多关于越南的情况，请联系我们。在这个过程中，Primitives公司的员工们都在努力工作，因为他们都有一个共同的目标，那就是把他们的工作做好。从1931年起，张伯伦就开始为自己的孩子们提供服务。

Le Pho (1907-2001)

Le Pho (1907-2001) 224 - LE PHO (1907-2001)

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Alix AYMÉ (1894-1989) Les jeunes filles Moï, 1930 Oil on canvas 55 x 46.5 cm - 21 5/8 x 18 1/4 in. Alix Aymé went to Laos at least three times. The first time was in 1923. A second time during the summer of 1928, to make the first studies for the decoration of the Royal Palace of Luang Prabang. A third time in July 1929, for a stay that lasted until the beginning of 1931, during which she decorated a room in the Royal Palace of Luang Prabang, and produced the majority of the works that were shown at the Colonial Exhibition. During this stay, she went as far as Muong Sing, on the borders of China and Burma. In total, more than 60 works by Alix Aymé were shown at the Colonial Exhibition, 55 of which were in the Laos Pavilion (47 paintings and 8 pastels), the others being shown in the Salon des Beaux-Arts, which was held inside the reconstruction of the Angkor temple. Most of these are canvases, but there are also a few paintings on silk and pastels. The walls of the Laos pavilion are literally covered with her paintings. There is a very large painting of about 1.5 metres by 3 metres, representing a scene of life in Luang Prabang, in the spirit of the decoration she made for the Royal Palace, a painting that has not reappeared to this day. For the rest, it is a representation of different Laotian types, to reflect the diversity of the country’s populations, and of some landscapes. At the end of the exhibition, 30 of Alix’s 47 canvases will be sent back to Laos, the trace of which has been lost to this day. It should be noted that none of Alix Aymé’s works were reserved for the Musée des colonies, which was being set up at the time, making it all the more precious that her family should preserve the four works presented today. In 1929, the Revue Indochinoise Illustrée devoted an article to Alix Aymé, entitled «Madame Alix de Fautereau, Indochinese painter» and explained the atypical and remarkable career of this young female painter who had the eye of an ethnographer. After attending the Toulouse Conservatory of Music, the young Alix Hava became a student of Maurice Denis, leader of the Nabi group. She immediately worked on the décor of the Théâtre des Champs-Élysées, a masterpiece of new decorative art, alongside the great masters of the Parisian avant-garde, such as Bourdelle, Ker-Xavier Roussel and Edouard Vuillard. When she spends her vacations in Brittany, not far from the Gloanec inn, she is surrounded by the memory of Gauguin. In fact, she initiated herself into woodcuts. Throughout her career, she frequented the intellectual, literary and artistic circles of Paris. She became a friend of Foujita and Saint-Exupéry. It is with Maurice Denis that she remains closest and with whom she maintains a sustained correspondence. She retained a style in which color was paramount. Modern artist, Alix Hava is also a great traveler. Since her youth, she has traveled the seas and oceans, from the Mediterranean shores to Martinique. With her husband, Paul de Fautereau-Vassel, she discovered Asia and became fascinated by Far Eastern cultures. From 1921, she worked closely with the Hanoi School of Fine Arts. She was introduced to various Asian artistic techniques, including painting on silk and lacquer, and contributed with Inguimberty to the teaching of lacquer return in the school. In 1931, when she married Georges Aymé, brother of the writer Marcel Aymé, and Lieutenant General of the Army in Indochina, Alix de Fautereau, now Alix Aymé, continued to practice her profession in this region of the world that she particularly liked. Close to the king of Luang-Prabang, she executed the mural decoration of the reception room of the H.M. Sisavang-Vong palace. Her works are at the junction of the Nabis style and traditional Vietnamese painting. More than a modern artist, Alix Aymé is an ethnographer. In 1929 and 1930, she was commissioned by the general government of Indochina to decorate the Laos section of the 1931 Paris International Colonial Exhibition.. Like the explorer Alexandra David-Néel, she ventured into regions that had remained inaccessible to Westerners until now and set out to meet the remote indigenous populations. Starting from Luang-Brabang, she travels up the Mekong River in a dugout canoe and continues her journey on horseback along mountain trails. In the manner of the great painters who made the Grand Tour, she carefully documented her travels and illustrated them. Her stories, rich in colourful and touching anecdotes, have reached us through articles published in specialized magazines. During her expeditions, Alix Aymé devoted herself to her art and executed numerous paintings, true ethnographic testimonies of these populations, almost unknown at the time. She took care to describe each detail scrupulously, thus noting costumes, objects, landscapes... The Colonial Exhibition had been approved by the law promulgated on March 17, 1920. Initially planned for 1925, the event finally opened its doors on May 6, 1931, at the edge of the Bois de Vincennes, coinciding with the completion of line 8 of the Paris metro. The French protectorate of Laos is represented in the southern part of the Bois, in the midst of the other French territories of Indochina and the rest of the French colonies, not far from what was considered the «highlight» of this event, the replica of the Angkor Wat temple. In the Indochina section, orchestrated by Victor Tardieu with the support of the painter Le Pho, the bronze Tête d’annamite d’Evariste Jonchère and the Buste de jeune fille de Vu Cao Dam, now part of the Quai Branly Museum collections, were exhibited. The Laos section consists of a micro-village of traditional Lao buildings, where monks, artisans, singers and musicians are active. The religious buildings include a replica of Wat Xiengthong, one of the oldest temples in Luang Prabang, the former royal capital. Religious frescoes adorn the peristyle. This replica is made by the architects Charles and Gabriel Blanche under the supervision of Alix Aymé who madé many sketches of it. Inside the temple are placed Buddha figures of various sizes and worship objects made of precious materials. Right next to the temple is built a reproduction of the Wat Sisakhet Religious Library in Ventiane. Finally, behind this library is a small chapel dedicated to the monks’ meditation. In the middle of this Laos section is the proper exhibition pavilion, built in the traditional Lao style where traditional jewelry and silks are displayed. The walls are covered with the 47 paintings captured on the spot by Alix Aymé. This pictorial ensemble is remarkable not only for its artistic quality but also for its ethnographic interest. On her canvases, one can recognize traditional clothing, fabrics and accessories such as the bamboo pipes exhibited at the Colonial Exhibition and now found in national collections. If, after 1931, the French government kept a number of ethnographic objects, the works of Alix Aymé did not enter public collections. Of this incredible series of paintings, of which we have since lost track, only the four canvases presented for sale today remain. Acquired by the artist’s brother-in-law at the end of the exhibition, they have remained in the family to this day. After traveling thousands of miles from Laos in 1931 and being installed by Alix Aymé in the Laos Pavilion, they have been remarkably well preserved in France for nearly a hundred years and arrive in their original condition, barely tarnished by the effects of time. These four paintings illustrate Laos, neither dreamed nor fantasized but lived and observed. They testify to the diversity and beauty of the Laotian landscape and culture. Alix Aymé is the cultural ambassador of this country still little known at the time.

Alix AYMÉ (1894-1989) 莫伊女孩》，1930年 布面油画 55 x 46.5 cm - 21 5/8 x 18 1/4 in. 证据 艺术家家庭的收藏，在巴黎殖民展览后获得，并从那时起在家庭中流传。 展览 1931年，巴黎殖民博览会，老挝馆XUẤT XỨBộsu tập của gia đình họn phương án định định định,鉴此，我们将在巴黎举行的会议上，就巴黎的情况进行讨论，并在此基础上提出建议。TRIỂN LÃM1931, Triển lãm Thuộc tại Paris, Khu trưng bày của Lo 阿里克斯-艾梅至少三次访问老挝。1923年的第一次。第二次是在1928年夏天，为琅勃拉邦皇宫的装饰做第一批研究。第三次是在1929年7月，停留时间将持续到1931年初，在此期间，她将装饰琅勃拉邦王宫的一个房间，以及将在殖民展览上展出的大部分作品。在这次逗留期间，她最远到了中国和缅甸边境的蒙兴。 殖民展上总共展出了60多件阿里克斯-艾梅的作品，其中55件在老挝馆展出（47幅油画和8幅粉彩画），其他作品则在吴哥寺重建内的美术沙龙展出。其中大部分是绘画，但也有一些丝绸上的绘画和粉笔画。老挝馆的墙壁上简直贴满了他的画作。有一块非常大的画布，大约有 1.50米乘以3米，表现琅勃拉邦的生活场景，符合她为皇宫所做的装饰的精神，这幅画至今没有再出现过。其余的画作是对不同老挝人类型的表现，以反映该国人口的多样性，以及一些风景。在展览结束时，阿里克斯47幅画中的30幅将被送回老挝，因为迄今为止所有的痕迹都已经消失。应该指出的是，阿里克斯-艾梅的作品没有一件是为当时正在建立的殖民地博物馆保留的，因此她的家人能保留今天展出的四件作品就更加珍贵了。 在她的职业生涯中，她经常出入巴黎的知识界、文学界和艺术界。她与福吉塔和圣-埃克苏佩里成为朋友。她与莫里斯-丹尼斯保持着最亲密的关系，并与他保持着持续的通信联系。她保留了一种色彩至上的风格。作为一个现代艺术家，阿里克斯-哈瓦也是一个伟大的旅行者。从年轻时起，她就走遍了大洋彼岸，从地中海沿岸到马提尼克岛。她与丈夫保罗-德-福特罗-瓦塞尔一起发现了亚洲，并对远东文化产生了热情。从1921年起，她与河内美术学校紧密合作。她被介绍给各种亚洲艺术技术，包括丝绸画和漆器，并与英吉利一起为学校恢复漆器教学作出了贡献。1931年，当她嫁给作家马塞尔-艾梅的兄弟、印度支那陆军中将乔治-艾梅时，阿里克斯-德-福特罗，即现在的阿里克斯-艾梅，继续在这个她特别喜欢的世界地区从事她的职业。在琅勃拉邦国王身边，她执行了西萨旺-冯陛下宫殿接待室的壁画装饰。她的作品处于Nabis风格和越南传统绘画的汇合点。阿里克斯-艾梅不仅是一位现代艺术家，而且是一位民族学艺术家。1929年和1930年，她受印度支那总政府的委托，为1931年巴黎国际殖民展览会的老挝展区进行装饰。像探险家亚历山德拉-戴维-内尔一样，她冒险进入西方人迄今无法进入的地区，并开始接触偏远的原住民。从琅勃拉邦开始，她乘坐独木舟沿湄公河而上，并继续沿山路骑马。按照那些进行大旅行的伟大画家的方式，她注意记述和说明她的旅行情况。她的叙述充满了丰富多彩的感人轶事，通过在专业杂志上发表的文章流传到我们这里。在考察期间，阿里克斯-艾美全身心地投入到她的艺术创作中，并完成了大量的绘画作品，这些作品是这些人口的真实人种学见证，在当时几乎无人知晓。她小心翼翼地描述每一个细节，注意到服装、物品、风景......。 "老挝妇女看起来像大溪地的妇女，这里的大自然与高更在他的画中所表现的相似。我整天都在这里画画。

Alix AYMÉ (1894-1989)

Alix AYMÉ (1894-1989) 226 - Alix AYME (1894-1989)

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Alix AYMÉ (1894-1989) Flamboyants aux bords du Mékong à Vientiane, 1930 Oil on canvas 59.8 x 70 cm - 23 1/2 x 27 1/2 in. During her numerous travels Alix Aymé tamed Indochina and especially Laos. She discovered the elements that make up these wild landscapes such as the Mekong, a river that crosses no less than six countries in Southeast Asia. She writes in one of her texts « The Mekong was red and, as the rainy season had begun in Upper Laos, it was already swelling and rolling turbid waters. Little bonzillons dressed in bright yellow were chanting Paleo in the pagoda at the end of the road. » While Alix Aymé has produced numerous works depicting the people of the area, the depiction of the landscapes surrounding these natives is just as well illustrated. In Flamboyants aux bords du Mékong à Vientiane, the artist addresses two aspects of Laotian culture: nature and religion. Flamboyants, trees with bright red flowers, are very present in Southeast Asia. A territory with ideal climatic conditions, flamboyants originating from Madagascar populate the banks of the Mekong. Nicknamed « flowers of paradise » their blooming is visible only after ten years of planting. The bright color of these flowers allows Alix Aymé to deploy a colorful palette with Nabis resonance. The orange-red mixes with the green of the other flowers and contrasts cheerfully with the blue of the sky and the pale yellow trail of the Mekong. Yellow is also found in the dress of Buddhist monks contemplating the banks of this river in Vientiane. Capital of Laos, this city counts among its monuments the most sacred of the country, the Pha That Luang. A Buddhist stupa covered with 500 kilos of gold leaves, it is the place of festivities during the full moon in November. If the festival of Boun That Luang is the occasion to gather many monks, they are also very present in the daily life| Buddhism being the main religion of Laos. Preaching material detachment, these monks have shaved heads and wear orange or yellow robes. The robes of the monks in this painting are gold and dawn, symbolizing purity. Through an apparently simple representation, Alix Aymé captures the serenity and tranquility of the Mekong river banks while paying tribute to the beauty of the landscape.

Alix AYMÉ (1894-1989) 1930年，万象湄公河岸边的艳舞者。 布面油画 59.8 x 70 cm - 23 1/2 x 27 1/2 in. 证据 艺术家家庭的收藏，在巴黎殖民展览后获得，并从那时起在家庭中流传。 展览 1931年，巴黎殖民博览会，老挝馆 XUẤT XỨ Bộ su tập của gia đình họn phương án định định định,鉴此，我们将在巴黎举行的会议上，就巴黎的情况进行讨论，并在此基础上提出建议。TriỂN LÃM 1931年，Triển lãm Thuộc tại Paris, Khu trương bày của Lào 在她的多次旅行中，阿里克斯-艾梅驯服了印度支那，特别是老挝。她发现了构成这些野生景观的元素，如湄公河，一条横跨东南亚不少于六个国家的河流。在她的一篇文章中，她写道："湄公河是红色的，由于上老挝的雨季已经开始，它已经膨胀，滚动着湍急的水。穿着鲜黄色衣服的小邦子在路的尽头的宝塔里念叨着帕里欧"。1 虽然阿里克斯-艾梅创作了许多描绘该地区人民的作品，但这些土著人周围的风景也同样得到了很好的说明。在《Flamboyants aux bords du Mékong à Vientiane》中，艺术家涉及老挝文化的两个方面：自然和宗教。Flamboyants是开着鲜红花朵的树木，在东南亚非常常见。在这片气候条件理想的土地上，来自马达加斯加的火烈鸟在湄公河畔繁衍生息。绰号为 "天堂之花"，它们的花期只有在种植十年后才能看到。这些花的绚丽色彩使Alix Aymé部署了一个具有Nabis共鸣的多彩调色板。橙红色与其他花的绿色相融合，与天空的蓝色和湄公河的淡黄色痕迹形成鲜明的对比。在万象的这条河畔，沉思的佛教僧侣的袈裟中也有黄色。作为老挝的首都，万象是该国最神圣的纪念碑--帕萨琅的所在地。这是一座覆盖着500公斤金箔的佛教佛塔，在11月的满月期间，它是庆祝活动的场所。如果说Boun That Luang节是聚集许多僧侣的场合，那么他们在日常生活中也非常存在；佛教是老挝的主要宗教。这些僧侣宣扬物质脱离，剃光头，穿橙色或黄色长袍。这幅画中的僧侣身着金色和曙光，象征着纯洁。通过看似简单的表现，Alix Aymé捕捉到了湄公河两岸的宁静和安详，同时向美丽的风景致敬。 Alix Aymé的做法是，将其与Dong Dương和đặc biệt Lào之间的问题联系在一起。在湄公河畔，有6个国家的政府官员，他们的工作是在湄公河畔进行的，他们的工作是在湄公河畔进行的。在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到，在这个问题上，我们可以看到阿里克斯-艾梅（Alix Aymé）是一个很好的例子，他的朋友们都很喜欢他。在湄公河流域，有很多人认为，在湄公河流域工作的人，都有一个共同的特点，那就是都有一个共同的目标，那就是在湄公河流域工作。在这个问题上，有很多人认为，汉字是一个很好的选择。Ở vùng đất hội tụ đầy đủ hững điều kiện khí hậu lý tưng này, những cây phượng có nguồn gốc tão Madagascar mọn phương án đầy bên bông Mekong.如果你想了解更多信息，请联系我们。在Alix Aymé看来，这是个很好的机会。坎帕斯和他的朋友们在湄公河上的生活，以及他们的朋友们在湄公河边的生活。在这个过程中，我们发现了一个新的问题，那就是，在这个过程中，我们发现了一个新的问题，那就是，在这个过程中，我们发现了一个新的问题，那就是，在这个过程中，我们发现了一个新的问题，那就是，在这个过程中，我们发现了一个新的问题，那就是，在这个过程中，我们发现了一个新的问题。在这个问题上，Viêng Chăn是一个很好的例子，因为它是由Pha That Luang (Thạt Luông)所组成。Bảo tháp Phật giáo này đưLc dát 500 kilogram quỳ vàng, là nơi tổ chức lễ hội và o ngày trăng tròn tháng 11.在Buon That Luang，我们可以看到，在我们的生活中，有很多人认为，在我们的生活中，有很多人认为，在我们的生活中，有很多人认为，在我们的生活中，有很多人认为，在我们的生活中，有很多人认为，在我们的生活中，有很多人认为。在这个问题上，我想说的是，我们应该把我们的工作做得更好。如果你想了解更多信息，请联系我们。Alix Aymé的作品比起其他作品更有吸引力。

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Alix AYMÉ (1894-1989) Laotienne devant sa paillote, 1930 Oil on canvas 78 x 54 cm - 30 5/8 x 21 1/4 in. This painting will be on loan for the exhibition: Itinéraires de l’ailleurs. Artistes voyageuses. De la «Belle époque » à la seconde guerre mondiale. Palais Lumière, Evian. December 17, 2022 – May 29, 2023. This work will be keeping in France until June 2023. “The general impression that one has of Laos is certainly not that of a rich country, but of a simple and happy country. The few French people who live there sometimes let themselves be taken in by this quietness, this sweetness of life, and one quotes more than one who no longer thinks of returning to France but lives in Laotian costume, barefoot, and doesn’t know which president governs us.”1 It is in these words that Alix Aymé evokes Laos, a territory where she was sent by the French government to prepare the Colonial Exhibition of 1931. The charm of the country inspired her to paint some forty pieces destined for the walls of the Laos pavilion at the Colonial Exhibition, including this work. Sensitive to ethnography, Alix Aymé offers a realistic vision of the Laotian tribe through the portrait of this young woman. A tribe established in the valley of the middle Nam-Ou as well as in the lower valley of the navigable tributaries, it is described by the commander Georges Aymé as follows: « In spite of their defects, the chiefs and inhabitants are in fact very sympathetic| the Laotian country of cheerful and easy life is the most cheerful of the Territory, boys and girls are very lively there and do not generate melancholy ».² The oil chosen by Alix Aymé makes it possible to adopt a large format and a better apprehension of the subject. This Western medium also allows the artist to use a lively and colorful palette in the image of the Laotian people. Reminiscences of his training with Maurice Denis, a Nabi painter, can be felt through the blossoming of tones that have a primary importance in the composition. Yellow, red, green and purple dance joyfully on the canvas and form the characteristic stripes of the Laotian costume. Alix Aymé’s interest in primitivism is expressed by the meticulousness with which this young girl is represented, reminiscent of Paul Gauguin’s Tahitian girls. Although she is willingly posing, the shyness of the young girl can be seen in her swaying right hand and her slightly unnatural left hand firmly placed on her thigh. The artist succeeds in capturing the youthful and enchanting beauty of this Laotian girl and thus offers a magnificent testimony of the indigenous people

Alix AYMÉ (1894-1989) 老挝妇女在她的草屋前，1930年 布面油画 78 x 54 cm - 30 5/8 x 21 1/4 in. 证据 艺术家家庭的收藏，在巴黎殖民展览后获得，并从那时起在家庭中流传。 展览 1931年，巴黎殖民博览会，老挝馆 XUẤT XỨ Bộ su tập của gia đình họn phương án định định định,鉴此，我们将在巴黎举行的会议上，就巴黎的情况进行讨论，并在此基础上提出建议。TriỂN LÃM 1931年，Triển lãm Thuộc tại Paris, Khu trương bày của Lào 这幅画是一个借出请求的主题，被接受用于展览：Itinéraires de l'ailleurs。旅行艺术家。从 "美好时代 "到第二次世界大战。卢米埃尔宫，埃维昂。2022年12月17日-2023年5月29日。因此，为了这个目的，它将在法国保留到2023年6月。 "人们对老挝的总体印象当然不是一个富裕的国家，而是一个简单而幸福的国家。住在那里的少数法国人有时会让自己被这种宁静、这种甜蜜的生活所吸引，不止一个人被引述说，他们不再想回到法国，而是穿着老挝的服装，赤着脚生活，不知道哪个总统在管理我们。"1 正是在这些话中，阿里克斯-艾梅唤起了老挝，她被法国政府派到这个领土，以筹备1931年的殖民地展览。这个国家的魅力激发了她的灵感，她创作了大约40幅画，在殖民展览的老挝馆的墙壁上展出，包括这幅作品 阿里克斯-艾梅对民族志很敏感，通过这位年轻女性的肖像，为老挝部落提供了一个真实的视野。指挥官乔治-艾梅（Georges Aymé）对这个建立在南欧中部河谷以及通航支流下游河谷的部落描述如下。"尽管有这样那样的缺点，但酋长和居民实际上都很有同情心；老挝的国家，有着开朗轻松的生活，是领土上最开朗的国家，男孩和女孩都很活泼，不会让人产生忧郁 "2。阿里克斯-艾梅选择的油画使其有可能采用大的格式，更好地把握住主题。这种西方媒介也使艺术家能够在老挝人民的形象中使用生动和多彩的调色板。通过构图中最重要的色调的绽放，可以感受到他在纳比画家莫里斯-丹尼斯那里的训练的回忆。黄色、红色、绿色和紫色在画布上欢快地跳舞，形成老挝服装特有的条纹。阿里克斯-艾梅对原始主义的兴趣表现在对这个年轻女孩的细致描绘上，让人想起保罗-高更的塔希提女孩。虽然她心甘情愿地摆着姿势，但从她摇摆的右手和紧紧放在大腿上的略显不自然的左手可以看出这个年轻女孩的羞涩。艺术家成功地捕捉到了这个老挝女孩的青春和迷人的美，从而为土著人民提供了一个华丽的见证。 您可以通过以下方式来了解您的情况：您可以在您的网站上看到 "您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"。Những nghệ sĩ lãng du.Từ " Thời kỳ hoàng kim " đến Thến thứ hai.Cung điện Ánh sáng, Evian.Từ ngày 17 tháng 12 năm 2022 đến ngày 29 tháng 5 năm 2023。在2023年的6月6日，在中国大陆的一个城市里，有一个叫 "法布尔 "的地方，它的名字叫 "法布尔"。 "我们的目标是使我们的国家成为世界上最强大的国家之一。谈到这个问题时，他说："我想说的是，如果你想知道我的想法，你就应该把我的想法告诉你。"他还说，如果你想知道我的想法，就应该把我的想法告诉你。在这一过程中，有很多人都在为自己的行为负责，但也有很多人在为自己的行为负责。他是一个很好的朋友，他的朋友是一个很好的朋友，他的朋友是一个很好的朋友，他的朋友是一个很好的朋友，他的朋友是一个很好的朋友。"在1931年的时候，阿里克斯-艾梅（Alix Aymé）就曾为他的妻子和孩子们提供过帮助。在这个问题上，我想说的是，如果你想让你的朋友知道你的情况，那么你就必须把你的情况告诉他。 Alix Aymé表示，他对这个问题的看法是："我认为这个问题很重要。在南澳，有很多人都认为，在南澳的生活中，有很多人都不知道该怎么做，因为他们不知道该怎么做。乔治-艾梅（Georges Aymé）是一个很好的例子。"我或我的朋友们，你们可以把你们的想法告诉我，也可以把你们的想法告诉我。在Khu filed中，有很多的 "小"、"大 "和 "小"，其中包括 "小"、"大 "和 "大"。汉字中的Alix Aymé的名字是 "Alix Aymé"，它的名字是 "Alix Aymé"。采访

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Alix AYMÉ (1894-1989) Couple Kha, 1930 Oil on canvas 54.4 x 66 cm - 21 3/8 x 26 in This painting will be on loan for the exhibition: Itinéraires de l’ailleurs. Artistes voyageuses. De la «Belle époque » à la seconde guerre mondiale. Palais Lumière, Evian. December 17, 2022 – May 29, 2023. This work will be keeping in France until June 2023.  During his trip to Laos around 1930, commissioned by the French government to decorate the Laos pavilion at the colonial exhibition, Alix Aymé set out to represent the many tribes that populate the territory. Among them, her attention was drawn to the Kha tribe. This tribe, whose etymology means « savage », is divided into different sub-categories where each one shares its own habits and customs. These different peoples are described by Major Georges Aymé as “hard-working, very superstitious, fearful and live in close dependence on the tribes of the Thai branch whose costume they have often adopted”.1 Through the work presented for sale, Alix Aymé brings a unique testimony of this people capturing the immediacy of a moment and the naturalness of these natives. Crouched down, the two characters abandon themselves and enjoy the moment. One is smoking a pipe while the other is pensive. The cloth they wear over their shoulders is auburn with red stripes. The palette is subtly colored. Although the brown tones of the skin, hair and cloth dominate, there are more vivid touches to contrast the composition. Thus the green of the wild vegetation, or the yellow of the sunshine complete the tones. The sensitivity of the artist but also his mastery of painting allow him to immortalize with an almost documentary eye the customs of the Kha tribe, people among the oldest occupants of Laos.

Alix AYMÉ (1894-1989) 阿里克斯·艾梅 (1894 - 1989)《Kha少女》 油画 54.4 x 66 cm - 21 3/8 x 26 in. 证据 艺术家家庭的收藏，在巴黎殖民展览后获得，并从那时起在家庭中流传。 展览 1931年，巴黎殖民博览会，老挝馆 XUẤT XỨ Bộ su tập của gia đình họn phương án định định định,鉴此，我们将在巴黎举行的会议上，就巴黎的情况进行讨论，并在此基础上提出建议。TriỂN LÃM 1931年，Triển lãm Thuộc tại Paris, Khu trương bày của Lào 这幅画是一个借出请求的主题，被接受用于展览：Itinéraires de l'ailleurs。旅行艺术家。从 "美好时代 "到第二次世界大战。卢米埃尔宫，埃维昂。2022年12月17日-2023年5月29日。因此，它将被保留在法国，直到2023年6月。 在1930年左右的老挝之行中，受法国政府委托装饰殖民展览中的老挝馆，阿里克斯-艾梅开始着手表现该领土上的众多部落。在这些人中，他的注意力被吸引到Kha部落。这个词源为 "野蛮人 "的部落被分为不同的子类别，每个子类别都有自己的习俗和习惯。这些不同的民族被乔治-艾梅少校描述为 "勤劳、非常迷信、恐惧，并密切依赖泰国分支的部落生活，他们经常采用这些部落的服装"。 通过出售的作品，Alix Aymé为这个民族带来了独特的见证，捕捉到了瞬间和这些当地人的自然状态。蹲下身子，这两个人物放弃了自己，享受这一刻。一个人在抽着烟斗，另一个人在沉思。他们戴在肩上的布是带红色条纹的赤褐色。调色板的颜色很巧妙。虽然皮肤、头发和布的棕色调占主导地位，但明亮的点缀与构图形成对比。野生植被的绿色和阳光的黄色完成了这一色调。艺术家的敏感性和他对绘画的精通使他能够以一种近乎纪实的眼光将老挝最古老的居民之一Kha部落的风俗不朽。 您可以通过以下方式来了解您的情况：您可以在您的网站上看到 "您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"，"您是谁"。Những nghệ sĩ lãng du.Từ " Thời kỳ hoàng kim " đến Thến thứ hai.Cung điện Ánh sáng, Evian.Từ ngày 17 tháng 12 năm 2022 đến ngày 29 tháng 5 năm 2023。在2023年的6月6日，在中国大陆的一个城市里，有一个叫 "法布尔 "的地方，它的名字叫 "法布尔"。 1930年，Alix Aymé选择了Lauo，并选择了Khu Trưng作为他在Lauo的助手。在这一过程中，您可以看到，您的朋友们都在为您提供服务，而您的朋友们则在为您提供服务的同时也在为您提供服务。在这一过程中，你会发现你的朋友们对你很感兴趣。在这里，我想说的是："在这里，我们要做的就是把我们的工作做得更好"。您可以在这里找到您想要的信息。乔治-艾梅（Georges Aymé）的父亲是一个很有影响力的人，他说："我的孩子，我的孩子，我的孩子，以及我的孩子。"¹ Alix Aymé是一个很好的例子，她的朋友们都说她是一个很好的例子。在这一过程中，我们可以看到，我们的目标，我们的目标，我们的目标，我们的目标，我们的目标，我们的目标，以及我们的目标。在这一过程中，很多人都在为自己的行为感到羞愧。我想说的是，在我看来，这并不重要，重要的是，在我看来，这并不重要，重要的是，在我看来，这并不重要，重要的是，在我看来，这并不重要，重要的是，在我看来，这并不重要，重要的是，在我看来，这并不重要，重要的是，在我看来，这并不重要。您可以在您的网站上找到您所需要的信息。在这一过程中，我们可以看到，在我们的工作中，有很多人都在为我们的工作而努力，有的人在为我们的工作而努力，有的人在为我们的工作而努力。在这个过程中，您可以通过汉字识别系统了解您的身份，您也可以通过您的电脑了解您的身份，您也可以通过您的手机了解您的身份。汉字的特点是，它是由一个个小村庄组成的，而不是由一个个小村庄组成的，它是由一个个小村庄组成的。在这个过程中，我发现我的朋友们都很喜欢我，他们都很喜欢我，我也很喜欢他们。

Alix AYMÉ (1894-1989) 229 - Alix AYME (1894-1989)

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MAI trung THU (1906-1980) Mère et enfant sur la terrasse, 1970 Ink and color on silk, signed and dated lower left, titled on the back and inscribed XII 70. In its original frame made by the artist. 28.4 x 16.1 cm - 11 1/8 x 6 1/4 in.

MAI trung THU (1906-1980) 阳台上的母亲和孩子，1970年 丝绸上的水墨和色彩，左下角有签名和日期，背面有标题和注释XII 70在艺术家制作的原始框架中。 28.4 x 16.1 cm - 11 1/8 x 6 1/4 in. 夏洛特-阿古特斯-雷尼尔目前正在为巴黎的亚洲艺术家协会准备的艺术家目录中，将向买方提供一份收录证书。 证据 Apesteguy画廊，多维尔私人收藏，巴黎（从前主人那里获得）。

MAI trung THU (1906-1980) 230 - MAI TRUNG THU (1906-1980)

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Le Pho (1907-2001) Jeune fille à la tasse de thé, circa 1955 Oil, ink and color on silk, signed lower left 28 x 17 cm - 11 x 6 5/8 in. On the back of Jeune fille à la tasse de thé, the label of the Romanet gallery testifies of the support and interest that Lê Phổ received from the French artistic sphere starting in 1942. This gallery, at the time located at 18 Avenue Matignon in Paris, chose to advise him for some twenty years and to exhibit his work in Paris and internationally. It was also during this period that his painting began to evolve. Retaining the use of ink and silk, Lê Phổ introduced oil which gradually took the place of gouache. The light colors, laid down in solids, sometimes rub shoulders with spaces of silk left empty. Maintaining his taste for graceful feminine subjects, Lê Phổ loads his painting more with, here, a very present floral composition and an almost abstract background. This painting heralds the artist’s future transition to the use of bright oil colors and the abandonment of silk in favor of canvas.

Le Pho (1907-2001) 捧着茶杯的年轻女孩，约1955年 丝绸上的油画、墨水和色彩，左下方有签名 28 x 17 cm - 11 x 6 5/8 in. 夏洛特-阿古特斯-雷尼尔目前正在为巴黎的亚洲艺术家协会准备的艺术家目录中，将向买方提供一份收录证书。 证据 罗曼尼特画廊，巴黎 私人收藏，法国（1959年3月获得） 然后通过后裔 在《端着茶杯的少女》的背面，罗曼尼特画廊的标签证明了勒菲从1942年起从法国艺术领域得到的支持和关注。这家当时位于巴黎马蒂尼翁大街18号的画廊选择为他提供了约20年的建议，并在巴黎和国际上展出他的作品。也正是在这一时期，他的绘画开始发展。在保留水墨和丝绸的基础上，Lê Phổ引入了油画，并逐渐取代了水粉画的地位。淡淡的颜色，以平坦的色调铺设，有时会与丝绸的空隙擦肩而过。Lê Phổ保持了他对优雅的女性题材的喜好，使他的画作更有张力，在这里，有一个非常现成的花卉构图和一个几乎抽象的背景。这幅画预示着艺术家未来将过渡到使用明亮的油彩和放弃丝绸而使用画布。 Mặt sau bức tranh Thiếu nữ bên tách trà, nhãn tên của phòng tranh Romanet là minh chứng cho sự quan tâm vàủng hộ mà Lê Phổ nhận đợc từ giài nghệ thuật của Pháp kể từ năm 1942.在巴黎的马蒂尼翁大街18号，您可以通过电话和邮件的方式联系到您的朋友。在这一过程中，Lê Phổ的人都会有一个共同的愿望。Lê Phổ ẫn sử dụng chất liệu mực nho và lụa, Lê Phổ thêm vào chất liệu sơn dầu, dần thay thế bột màu trong tranh。在这个问题上，我们要做的是，把我们的工作做得更好，把我们的工作做得更好，把我们的工作做得更好。Lẫn đuổi những chủ đề vẻ đẹp người phụ nữ, Lê Phổ thêm vào bức họa này của mình, bố cụ c với một bó hoa làn và làp nền gần như trừ u tượng。在这个问题上，我们可以说，在这个问题上，我们可以说，在这个问题上，我们可以说，在这个问题上，我们可以说，在这个问题上，我们可以说，在这个问题上，我们可以说，在这个问题上，我们可以说，在这个问题上，我们可以说。

Le Pho (1907-2001) 231 - LE PHO (1907-2001)

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MAI trung THU (1906-1980) Jeune femme à la fleur, 1953 Ink and color on silk, signed and dated upper left. In its original frame made by the artist. 26.7 x 19.7 cm - 10 1/2 x 7 3/4 in. Representations of young women are common in the work of Mai Trung Thứ, they are a way for the artist to emphasize the beauty of the female gender of his country. These models respond to the same canons: ebony hair, porcelain complexion, almond-shaped eyes, haughty bearing but also slender and graceful silhouette. These representations are distinguished by the introduction of accessories, ornaments or particular vegetation. In Jeune femme à la fleur, the model meets the usual criteria of beauty. Her face, formed by an elongated oval, is characteristic of the works of the 1950s. She smells the perfume of a flower with a white bell. The flowers composing a flowerbed brighten up the decor which sees the Vietnamese mountains in the background. The composition is done through a soft palette and is enhanced by discreet bright touches. The sleeves and collar of the powder pink áo dài are highlighted with an acid green. The white of the eyes is cyan blue. These bright and vivid colors are a pointer to the palette that Mai Trung Thứ would adopt years later

MAI trung THU (1906-1980) 拿着花的年轻女人, 1953年 丝绸上的水墨和色彩，左上角有签名和日期，在艺术家制作的原始框架中 26.7 x 19.7 cm - 10 1/2 x 7 3/4 in. 夏洛特-阿古特斯-雷尼尔目前正在为巴黎的亚洲艺术家协会准备的艺术家目录中，将向买方提供一份收录证书。 证据 私人收藏，法兰西岛 年轻女性的表现在Mai Trung Thứ的作品中很常见，这也是艺术家强调她的国家的女性人口之美的一种方式。这些模特符合同样的准则：乌黑的头发，瓷器般的肤色，杏仁形的眼睛，傲慢的姿态，但也有修长和优雅的轮廓。这些代表作通过引入配件、装饰品或特殊的植被来加以区分。在《带花的年轻女人》中，模特符合通常的美学标准。她的脸由一个拉长的椭圆形形成，是50年代作品的特点。她正在吸食一朵白铃花的香味。花坛里的鲜花照亮了环境，背景是越南的山脉。使用柔和的调色板创作的构图，通过谨慎的明亮点缀得到加强。粉红色áo dài的袖子和领子用酸绿色突出。眼白是青蓝色的。这些明亮而生动的颜色表明了麦仲图多年后采用的调色板。 在Mai Trung Thứ的帮助下，他的妻子和孩子们都很高兴。在这个过程中，我们可以看到，很多人都有一个共同的特点，那就是他们都有一个共同的特点：他们都有一个共同的爱好，都有一个共同的目标，都有一个共同的目标，都有一个共同的目标，都有一个共同的目标。如果您想了解更多信息，请联系我们。在Thiếu nữ bên hoa, ngời mẫu hội tụ đầy đủ tiêu chuẩn về vẻ đẹp thông thuong.在1950年的时候，他就已经是一个很好的朋友了。Cô đang thưng thức hương thơm của một cành linh lan.在这个问题上，我想说的是："我认为，在这个问题上，我们应该有一个共同的目标，那就是让所有的人都有一个共同的目标，那就是让所有的人都有一个共同的目标。你可以在你的网站上看到你的朋友的照片，也可以在你的网站上看到你的朋友的照片，也可以在你的网站上看到你的朋友的照片。请注意，如果你想让你的朋友知道你的情况，你必须要有足够的耐心和毅力。缔造了一个新的世界。Những màu sàc sống động và rc rỡ này báo hiệu cho những tông màu sẽ ược Mai Trung Thứ sử dụng một vài năm sauđó

MAI trung THU (1906-1980) 232 - MAI TRUNG THU (1906-1980)

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MAI trung THU (1906-1980) Mère et enfant, 1964 Ink and color on silk, signed and dated upper right. In its original frame made by the artist, monogramed, titled and numbered on reverse. 16 x 14 cm - 6 1/4 x 5 1/2 in

MAI trung THU (1906-1980) 母与子》，1964年 丝绸上的水墨和色彩，右上角有签名和日期，背面有标题和日期。在艺术家制作的原框中，背面有图案、标题和编号。 16 x 14 cm - 6 1/4 x 5 1/2 in. 夏洛特-阿古特斯-雷尼尔目前正在为巴黎的亚洲艺术家协会准备的艺术家目录中，将向买方提供一份收录证书。 证据 私人收藏，诺曼底

MAI trung THU (1906-1980) 233 - MAI TRUNG THU (1906-1980)

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Alix AYMÉ (1894-1989) Maternité sur un fond or Lacquer and gold highlights, signed lower right 39.7 x 40 cm - 15 5/8 x 15 3/4 in. Alix Aymé discovered the technique of lacquer during her trip to Japan in 1928. From this discovery was born a real passion which will allow the revival of this technique and will place her as one of the rare French artists recognized for this medium. Victor Tardieu then asked her to participate in the teaching of this art at the Indochina School of Fine Arts Maternité illustrates her remarkable know-how. Marked by her apprenticeship with Maurice Denis, the lesson of her Nabi master is still legible. The one nicknamed « the nabi with the beautiful icons » passed on to his pupil his iconic vision of portraits and more particularly of the golden backgrounds that she represents with gold leaf or powder. Based on the familiar features of her son François for the little boy, this work evokes the maternities of tenderness. The love binding the two characters is symbolized through this protective hand but also by the cheeks placed one against the other. Dressed in a large cape, this mother is universal, recalling the Italian Madonnas. A modern variation of a Virgin and Child, this maternity is also distinguished by the representation of a subtle sculpted frame in the manner of a trompe l’oeil. Underlining Alix Aymé’s audacious talent, this panel appears as a remarkable testimony of a perfect artistic and technical mastery. It is not surprising that this masterpiece was preciously preserved by one of Alix Aymé’s family members until today

Alix AYMÉ (1894-1989) 《母子图》 漆画 39.7 x 40 cm - 15 5/8 x 15 3/4 in. 证据 艺术家送给他的姐夫马塞尔-艾梅的作品 私人收藏，法国（由前者转交）。 Alix Aymé在1928年的日本之行中发现了漆器技术。这一发现引起了真正的热情，导致了这一技术的复兴，并使她成为少数几个因这一媒介而被认可的法国艺术家之一。随后，维克多-塔迪厄请她在印度支那美术学校陪同教授这种艺术。 孕产期说明了她非凡的专业知识。她在莫里斯-丹尼斯的学徒生涯中留下了印记，她的纳比师父的课仍然清晰可辨。这位绰号为 "拥有美丽图标的纳比 "的艺术家把他对肖像画的标志性看法传给了他的学生，尤其是她用金箔或金粉描绘的金色背景。基于她儿子弗朗索瓦对小男孩的熟悉特征，这件作品唤起了母性的温柔。保护性的手和靠在一起的脸颊象征着捆绑两个人物的爱。这位母亲身着大披肩，具有普遍性，让人想起意大利的圣母玛利亚。作为圣母与圣婴的现代变体，这幅母体的特点还在于表现了一个微妙的变色雕花框架。强调了阿里克斯-艾梅的大胆天赋，这个小组是一个完美的艺术和技术掌握的显著证明。毫不奇怪，这幅杰作被阿里克斯-艾梅的一位家庭成员珍贵地保存到今天。 Alix Aymé在1928年的时候，曾在Nhật Bản工作过。在这个问题上，我想说的是："我们的目标是把我们的工作做得更好"，"我们的目标是把我们的工作做得更好"。维克多-塔迪欧（Victor Tardieu）是一个很好的朋友，他的朋友们都很喜欢他。 您可以通过以下方式了解Alix Aymé的情况。莫里斯-丹尼斯先生是一个很有远见的人，他对纳比的评价是："他是一个很有远见的人"。他说："纳比是我的朋友，他是我的朋友，他是我的朋友，他是我的朋友。đặc biệt là việc sử dụng chất liệu lá vàng hoặc bột vàng để tạo sc vàng khi vẽ phông tranh。在这一过程中，我们可以看到，弗朗索瓦和他的朋友们在一起时，他们的生活方式和生活方式都是一样的。在这个问题上，我想说的是，我的朋友们都在努力工作，而我的朋友们也在努力工作。在这个过程中，我们可以看到，在这个过程中，很多人都在寻找一种新的方式来解决这个问题，比如说，在这个过程中，很多人都在寻找一种新的方式来解决这个问题，比如说，在这个过程中，很多人都在寻找一种新的方式来解决这个问题，比如说，在这个过程中，很多人都在寻找一种新的方式来解决这个问题，比如说，在这个过程中，很多人都在寻找一种新的方式来解决这个问题，比如说，在这个过程中，很多人都在寻找一种新的方式来解决这个问题，比如说，在这个过程中，很多人都在寻找一种方式来解决这个问题。如果您想了解更多信息，请访问我们的网站。对Alix Ayme来说，这是个很好的机会，可以让他选择一个合适的方法来解决这个问题，也可以让他选择一个合适的方法来解决这个问题。鉴此，我们可以看到，Alix Aymé选择了一个新的方法，即用一个新的方式来解决这个问题。

Alix AYMÉ (1894-1989) 234 - Alix AYME (1894-1989)

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Alix AYMÉ (1894-1989) Fillette aux tresses Ink and color, gold and silver highlights, signed lower right, countersigned and titled on the back 29 x 17 cm - 11 3/8 x 6 5/8 in.

Alix AYMÉ (1894-1989) 扎辫子的女孩 水墨和色彩，丝绸上的金色和银色亮点，右下方有签名，背面有会签和标题 29 x 17 cm - 11 3/8 x 6 5/8 in.

Alix AYMÉ (1894-1989) 236 - Alix AYME (1894-1989)

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Le Pho (1907-2001) Composition aux sept bouquets de fleurs, circa 1960-1970 Oil on canvas, signed lower right 90 x 116 cm - 35 3/8 x 45 5/8 in. If the work of the Aix-en-Provence master Cézanne inspired Picasso, who referred to him as « the father of us all », it also resonated with Lê Phổ. The Cézanian lesson, and more particularly his approach to perspective, can be found in Composition aux fleurs. Various bouquets are thus arranged on a carelessly drawn tablecloth. The vases’ accumulation and arrangement suggests perspective more than it imposes it. A piece of fabric but also a piece of wood complete the decor in a deceptively careless way. Indeed, if rubbeckias, sunflowers, dahlias and camellias seem to mingle in a joyful mess, the composition is perfectly studied. A brilliant student of the first class of the Indochina School of Fine Arts, Lê Phổ has continued to perfect his brushstroke over the years. His discovery of the Impressionists in France in the 1930s brought to his work a colorful and joyful palette that he did not have in his first period. Yellow, orange, red, green, pink bloom like these buds in flower. His lively and spontaneous touch brings this composition to life while the use of oil allows for a more ample creative gesture. Realized on a large format, the artist’s creativity can express itself and encourages the full use of the medium. Like the greatest painters, Lê Phổ revisits the classic still life composition and testifies to its essential role in the renewal of Vietnamese Art History

Le Pho (1907-2001) 有六束花的构图，约1960-1970年 布面油画，右下角有签名 90 x 116 cm - 35 3/8 x 45 5/8 in. 夏洛特-阿古特斯-雷尼尔目前正在为巴黎的亚洲艺术家协会准备的艺术家目录中，将向买方提供一份收录证书。 证据 私人收藏。法国（从艺术家处获得） D.夫人的收藏（通过血统）。 如果说普罗旺斯地区艾克斯的大师塞尚的作品启发了毕加索，他把塞尚称为 "我们所有人的父亲"，那么它也引起了勒菲的共鸣。塞尚的教训，尤其是他对透视的处理，可以在《花的构成》中找到。各种花束就这样被安排在一个不经意的桌布上。花瓶的堆积和排列暗示了视角，而不是强加给它。一块布和一块木头以一种欺骗性的不经意方式完成了装饰。的确，虽然红雀花、向日葵、大红花和山茶花似乎混杂在一起，一片欢乐的景象，但构图是完美的研究。作为印度支那美术学校第一期的优秀学生，Lê Phổ多年来不断完善自己的笔触。20世纪30年代，他在法国发现了印象派画家，为他的作品带来了第一时期所没有的色彩和欢乐的调色板。黄色、橙色、红色、绿色和粉红色的花朵像花蕾一样绽放。他活泼自如的笔触使这幅作品充满了生命力，而油彩的使用则让他有了更广泛的创作姿态。在大画幅上完成，艺术家的创造力可以得到表达，并鼓励充分占有媒介。就像最伟大的画家一样，Lê Phổ了经典的静物构图，并证明了它在越南艺术史的复兴中的重要作用。 塞尚的作品被称为 "Cha của tất c chúng ta"，也就是说，塞尚的作品被称为 "Chúng cũng ghi dấu"，而Lê Ph的作品则被称为 "Lêng tác phél_1EA9↩m"。在塞尚的作品中，我们可以看到他的作品，他的作品被称为 "花的构图"（Hoa tương），他的作品被称为 "花的构图"。Những bình hoa đặt trên một chiếc khăn trải bàn được kéo xô một cách tùy tiện。在这里，你可以看到你的朋友们都在为你而努力，你的朋友们都在为你而努力，你的朋友们都在为你而努力。在这里，你可以看到你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友，你的朋友。在这个问题上，我们要做的事情有很多，比如说："我们要做的事情有很多，比如说："我们要做的事情有很多，比如说："我们要做的事情有很多，比如说："我们要做的事情有很多，比如说："我们要做的事情有很多，比如说："我们要做的事情有很多，比如说："我们要做的事情有很多"，比如说："我们要做的事情有很多"，比如说："我们要做的事情有很多"，比如说："我们要做的事情有很多"，所以，我们要做的事情有很多，所以，我们要做的事情有很多，所以，我们要做的事情有很多，所以，我们要做的事情有很多。Lê Phổ không ngừng trau dồi nét của mình trong suốt những năm cầm bút.在1930年的时候，我曾在Lê Phổ的时候，把我的名字命名为 "Lê Phổ"，并把我的名字命名为 "Lél_1EE1"。Vàng, cam, đỏ, xanh lá, hồng hiện hữu trên những nụ hoa.在这个问题上，我们可以看到，在我们的工作中，有很多人都在为我们的工作而努力，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，比如说，我们的员工在工作中的表现，所以，我们的员工在工作中的表现。在这个问题上，汉字是一个很好的选择，因为汉字是一个很好的选择，因为汉字是一个很好的选择，因为汉字是一个很好的选择。Lê Phổ đổi mới bốc thờng thấy trong tranh tĩnh vật đồng thời khẳng định vai trò quan trọn của mình trong công cuộc canh tân của Lịch sử Mỹ thuật Việt Nam.

Le Pho (1907-2001) 237 - LE PHO (1907-2001)

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