Vũ Cao Đàm (1908-2000)

Lot 14
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Estimation :
150000 - 250000 EUR
Result with fees
Result : 203 250EUR
Vũ Cao Đàm (1908-2000)
*L’anneau de jade, circa 1950 Gouache and ink on silk, signed lower right 54 x 44.8 cm - 21 1/4 x 17 5/8 in. A descendant of Emperor Minh Mang of the Nguyen Phuoc dynasty, now a renowned European diplomat, Dr . D. began his collection in the 2000s. Passionate about the history of art and proud of his origins, he has worked throughout his quest to collect the works of these artists of Vietnamese origin who have resided in France. Constantly compiling these works that tell the story of his native land, he now wishes to share these testimonies with a new generation of collectors. As a benefactor, the proceeds from these sales will help develop another project that is close to his heart: the promotion of Vietnamese culture and art. Among the works presented for sale, the greatest names of the Hanoi School of Fine Arts can be found: Mai Trung Thứ, Vũ Cao Đàm and Lê Phổ. Vũ Cao Đàm was born in Hanoi in 1908 to a French-speaking, Francophile father. He grew up in an erudite environment, and attended the Hanoi Fine Arts School founded in 1925 by the French painter Victor Tardieu. He assisted Tardieu at the 1931 International Exhibition in Paris and discovered the world of Parisian art. He was highly influenced by the charms and culture of the City of Light. His subsequent travels through France led him to live there. At first keenly drawn to sculpture, which he practiced tirelessly, Vũ Cao Đàm finally began to express his immense talent in painting on silk. In both fields, he mainly focused on the human figure, which he glorified in portraits and charming genre scenes. In a subtle combination of Asian and European pictorial traditions, the artist’s delicate faces and graceful silhouettes have a refined elegance that makes his style instantly recognizable “When I first saw L’anneau de Jade, I was immediately touched and attracted by this painting whose theme and technique sparked my curiosity. My research leads me to believe that this is a unique piece in Vũ Cao Đàm’s rich and sophisticated œuvre. My personal feeling is also reinforced by the fact that the artist has kept it all his life, as it comes directly from his family collection. L’anneau de jade is inspired by Kim Vân Kiều (The Tale of Kiều), which is in many ways the true expression of the Vietnamese soul, which brought me back to the cultural background of my family. In L’anneau de jade, Vũ Cao Đàm tells of a young man's declaration to the girl he loves. It is the triumph of love over all obstacles, love being eternal as symbolized by the Jade Ring. For anyone who has ever experienced love, this work undoubtedly has a very strong resonance. In addition, the overall setting is beautiful, with the entire scene revolving around a cherry blossom tree, a symbol of the deepest soul. With wispy touches, the artist arranges flowers in this sophisticatedly composed orchard. These subtle touches are so skillful that they remind us of Vũ Cao Đàm‘s talent as a sculptor and demonstrate his ever-changing artistic technique. Although the true story of Kim Vân Kiêu is a dramatic one, Vũ Cao Đàm has retained in this illustration only the rare moments of happiness, love and serenity. This is indeed the feeling I get every day when I look at this work and it is with great regret that I decided to part with it so that others can enjoy it in the future.” Discussion with Dr . D., collector (extract) L’anneau de jade refers to an episode from Truyện Kiều (The Tale of Kiều), a Vietnamese poem written by Nguyễn Du (1765-1820) in the early 19th century. Legend has it that he wrote this work in a single night at the cost of his hair turning white the next day. Written in verse, this poem is one of the most widely read Vietnamese works and ranks as a literary treasure. A source of inspiration for many artists, it allows the Vietnamese tradition to be perpetuated but also to be spread abroad. Based on Confucian principles, the story is based on an ancient Chinese tale. Blending Chinese influences and traditional Vietnamese values, this poem tells the story of a beautiful young girl with remarkable talents, Kim-Trọng, who chooses to sacri - fice herself for filial piety and the survival of her family facing many tragedies. As the family is an extension of the individual according to Confucian principles, filial piety is a primary value. As the foundation of Confucianism, solidarity between the hierarchical ties is meant to be essential for the smooth functioning of society. If Kiều’s tale relates sometimes dark moments, Vũ Cao Đàm inspired by a romantic passage. Thúy-Kiều (Kiều) spots Kim-Trọng (Kim) on a walk with his brother and sister. Nguyễn Du describes the young scholar’s first appearance in these words: “Suddenly, a sound of golden bells from who knows where Is heard, approaches, and one sees appearing, A young traveler with the air of a man of letters... He arrived, very calm, at the pace of his horse, Letting the bridle take hold of the animal’s flanks, Carrying with ease and for all fortune. The legendary «bag full of wind and moon». That they always have with them, when they are travelers, The good poets with empty hands, sweet dreamers! Young servants followed him, in procession... On the dress of his steed, a snowy alb, Spread out whitenesses of the most brilliant brilliance... His sky-blue garment married, here and there, The shimmering of a beautiful sapphire with pure tints With the smaragdins reflections of the greenery...” Young Kiều and Kim fall under each other’s spell. The propriety and modesty of the society does not allow them to establish a dialogue, but this sweet encounter does not cease to haunt their minds. Vũ Cao Đàm, immortalizes the love declaration scene. After sneaking into a nearby village house in order to get closer to the beautiful girl, the one whose «It was said that Heaven in her had wanted to Unite all treasures with all virtues,» Kim finds near a high-walled building, a golden hairpin, a symbol of virginity, Kiều’s. Soon Kim’s graceful figure emerges in the garden in the distance. The artist depicts in L’anneau de jade, this moment: “So he ran home; his heart beating fast, He added two gold bracelets to the jewel Plus a silk handkerchief and, using a ladder, As if his truly supernatural ardour Wanted to climb the clouds in the middle of the sky. Climbed, with a light foot, to the top of the wall. No doubt: the Beauty which was offered to his sight, Was indeed this flower the other day appeared!” With great gentleness and grace, Vũ Cao Đàm captures the young man’s declaration of love. While the moment is recognizable thanks to faithful staging, some of the details are, however, the result of the freedom taken by the artist. Thus, the two gold rings are replaced by a jade ring, symbolizing purity according to Confucian principles. A highly symbolic, royal and spiritual stone, it underlines the artist’s respect for his culture. An impression of delicacy emanates from the composition. The choice of silk as a support allows a soft ren - dering, conducive to the romanticism of the scene. The characters with graceful silhouettes have a haughty bearing and a certain ele - gance. The round faces reinforce this charming harmony. The palette composed of pastel tones sublimates the silk and reminds us of the great mastery of the artist whatever the support used. While this theme has been taken up several times by Vũ Cao Đàm, this work in particular stands out for the quality of the ink and gouache work on silk which is of perfect mastery. Indeed, for over 20 years, the painter has worked his gesture in a search for perfection in drawing on silk and this painting testifies to the culmination of his research. We can see here and there on this painting the beginnings of a subtle evolution towards a more Western technique. Progressively, he will turn the following years towards oil on silk, then on canvas, isorel...
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