LÊ PHỔ (1907-2001)

Lot 6
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Estimation :
100000 - 200000 EUR
Result with fees
Result : 271 560EUR
LÊ PHỔ (1907-2001)
Méditation, circa 1940 Ink and color on silk, signed upper left, titled and numbered on reverse, in its original frame 27,7 x 24,2 cm - 10 7/8 x 9 1/2 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 romoted 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. If the delicacy of young Vietnamese women were to take shape through a paintbrush, it would unquestionably be through the brush of Lê Phổ. Trained at the Indochina School of Fine Arts and thus rich in bi-national learning, the artist renders like few others this so particular softness. Everything in this composition invites to daydreaming, to contemplation. From the Tonkinese mountains forming thesetting to the delicacy of the roses, the viewer’s eye is lost, contemplating and admiring the serenity of this young woman. The delicate oval of her face slightly tilted and the lowered gaze underline her modesty. From this young woman emanates an elegance that is reminiscent of the finesse of Renaissance portraits whose construction of the decor is similar. Having settled permanently in France for several years, the Vietnamese artist has captured the essence of Western culture, which he skilfully integrates with the traditions of the Far East. Through a particularly mastered technique and a mixture of influences, Lê Phổ offers here a composition where his talent is at its peak.
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