MAI trung THU (1906-1980)

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Lot n° 12
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Result : 195 000EUR
MAI trung THU (1906-1980)
La prière, 1943 Ink and color on silk, signed and dated lower left, countersigned and titled on reverse 45.4 x 28 cm - 17 7/8 x 11 in Made in 1943, La prière was painted during the Japanese occupation of Vietnam. December 1943 was also marked by the American bombings which resulted in the transfer of classes from the Indochina School of Fine Arts to different locations in the country. Far from the turmoil in her native country, Mai Trung Thứ then resided in Paris after a brief stay in Mâcon. Although the artist lives on another continent, he does not forget his origins, and shows a deep attachment to his native country that he illustrates in this work.  La prière is one of his works in which the affec - tion he has for Vietnam is clearly visible. The influences of his country are numerous and proudly displayed. Thus the use of silk recalls his origins. The technique of gouache or colored ink on silk was taught at the Indochina School of Fine Arts under the encouragement of its director, Victor Tardieu. He was keen to develop the link between Asian traditions and his students. Providing its students with silk and colors, the School of Fine Arts suc - ceeded in spreading this technique, which very quickly became one of the best emblems of the artists’ talent. Mai Trung Thứ is the one who remains the most faithful to this mate - rial, employing very few other mediums. His extensive use allows him to develop his own technique, facilitating the softening of tones through successive washes. Responding to this principle of attenuated colors, the palette of La prière is made of opaque tones. The color is discreet, not disturbing the scene’s reading. A young woman stands with her hands joined in prayer. The narrative is particularly related to Mai Trung Thứ s culture. Thus, the model has a face evoking young Vietnamese women. Her elongated face, her almond-shaped eyes but also her porcelain complexion and her ebony hair pulled back in a bun, emphasize her origins. She wears the national costume of Vietnamese women: the áo dài, consisting of a two-panel dress worn over wide pants. She is standing on a balcony enclosed by a wooden balustrade typical of Asian architecture. A delicately held curtain covers the upper part of the balcony. A green landscape dominated by the mountains in the distance completes the background and emphasizes this traditional setting.  Although Mai Trung Thứ has established him - self over the years as one of the artists from the Hanoi School of Fine Arts most faithful to his native nation, certain Western influences nevertheless appear discreetly in his compo - sitions. Thus, the movement and the drape of the tunic but also of the hanging are similar to the wet fold found in Greek statuary
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