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34
LE THI LUU (1911-1988)
The item was sold for 45 500 €
Fees include commission and taxes.
LE THI LUU (1911-1988)
Jeune fille
Pastel on paper, signed lower left
30 x 21.5 cm - 11 3/4 x 8 1/2 in.
While the treatment of the female figure is a cherished theme for artists trained in Hanoi under Victor Tardieu, Lê Thị Lựu’s approach differs in her personal vision as a young woman with her model. In contrast to comrades illustrating the figure in a traditional role usually dedicated - such as that of a mother or an elegant woman engaging in a leisure activity such as music or reading - she brings a touch of personality to the model depicted, drawing her at work in the fields, or in a rural setting, as here. With a soft and harmonious palette, Lê Thi Luu frames the luminous face of the young girl she represents and the use of pastel allows her to highlight the candor of youth. Her powdered palette also stands out. Playing with the different tones of blues, greens, adding a little pink on the cheeks, Lê Thị Lựu infuses a softness and a unique sensitivity to her work. A feminist before her time, graduating in 1932 as valedictorian of the 3rd class of the Indochina School of Fine Arts, Lê Thị Lựu established herself as a notable figure in the history of the Vietnamese artistic revival of the 20th century. Through her work, she leaves to posterity the testimony of an enlightened and particularly endearing eye.
LÊ THỊ LỰU
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 emphasized 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.
Jeune fille
Pastel on paper, signed lower left
30 x 21.5 cm - 11 3/4 x 8 1/2 in.
While the treatment of the female figure is a cherished theme for artists trained in Hanoi under Victor Tardieu, Lê Thị Lựu’s approach differs in her personal vision as a young woman with her model. In contrast to comrades illustrating the figure in a traditional role usually dedicated - such as that of a mother or an elegant woman engaging in a leisure activity such as music or reading - she brings a touch of personality to the model depicted, drawing her at work in the fields, or in a rural setting, as here. With a soft and harmonious palette, Lê Thi Luu frames the luminous face of the young girl she represents and the use of pastel allows her to highlight the candor of youth. Her powdered palette also stands out. Playing with the different tones of blues, greens, adding a little pink on the cheeks, Lê Thị Lựu infuses a softness and a unique sensitivity to her work. A feminist before her time, graduating in 1932 as valedictorian of the 3rd class of the Indochina School of Fine Arts, Lê Thị Lựu established herself as a notable figure in the history of the Vietnamese artistic revival of the 20th century. Through her work, she leaves to posterity the testimony of an enlightened and particularly endearing eye.
LÊ THỊ LỰU
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 emphasized 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.