MAI TRUNG THỨ (1906-1980)

Lot 8
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Estimation :
350000 - 550000 EUR
Result with fees
Result : 462 960EUR
MAI TRUNG THỨ (1906-1980)
Mère et enfant dormant, 1944 54,6 x 45,2 cm - 21 1/4 x 17 3/4 in. Ink and color on silk, signed and dated lower right, titled on the back Born in 1906 near Haiphong, Mai Trung Thứ attended the French high-school in Hanoi. Like Lê Phổ, Vũ Cao Đàm and Lê Văn Đệ, he was in the first year of students at the École des Beaux-Arts d’Indochine, founded and directed by the painter Victor Tardieu. Invited to take part in the 1931 Paris Colonial Exhibition, Mai Trung Thứ discovered and fell in love with France, where he settled in the late 30’s and stayed until he died. Although strongly influenced by the teachings of Tardieu and Joseph Inguimberty, he is the one of his omrades who retained the deepest-rooted sense of Vietnamese identity. He soon abandoned oils for gouache and ink on silk: typical Asian techniques that enabled him to develop a style richly reminiscent of traditional Chinese and Vietnamese art. Although an independent artist, he remained politically committed and concerned about the future of his country. Attracted by the artistic effervescence prevailing in France, Mai Trung Thứ left his native land in 1937. Dated from 1944 in Arabic numerals as the artist used to do, Mère et enfant dormant is characteristic of Mai Trung Thứ’s pictorial style during those years. Having abandoned the oil painting of his early years, he excelled in the mastery of ink and color on silk. Exploring this new technique, he relies on successive layering to bring a unique softness to his work. The tenderness of the composition is thus accentuated by a soft and harmonious palette. The green and the creamy white echo each other, subtly contrasting the ochre tones of the background. Proud of his origins, the artist immortalizes the vision of a dreamed Vietnam, nostalgic of its traditions through this young mother sitting cross-legged and her child lying down. If the models are depicted according to Asian canons, he also relies on the codes of Western art history. Forming a pyramidal composition, the figures undulate with a serpentine line dear to the mannerists. The grace and finesse of the young woman is underlined by her ao dai - a characteristic Vietnamese outfit - represented in the manner of the draped wet folds of Greek statuary. The fan and the finely embroidered arm cushion are enough to bring an Asian touch to this refined décor. Captured in a moment of neglect, Mai Trung Thứ invites the viewer to a multicultural journey carried by maternal tenderness. This work was realized in 1944, during the last year of the artist’s exhibition in Algiers at the Galerie Pasteur. It comes from the Guiauchain collection, a famous dynasty of architects from Algiers. Pierre Auguste Guiauchain, the first of the lineage was also the first French architect in Algiers in 1930. The presence of this silk in the Guiauchain collection attests to the strong ties between the latter and the Annam family. It should be remembered that Georges Guiauchain and his son Jacques had built the Hôtel Saint-Georges and that they are reputed to have worked on the nearby Villa Gia Long. They had a sincere friendship with the imperial family and have kept several Asian artifacts and pieces of furniture. The Villa Gia Long, the residence of the Prince of Annam, was built in 1906 in a neo-Moorish style in El Biar near Algiers. It bears witness to the imperial destiny of the owner of the place, known as Emperor Hàm Nghi. He was a political prisoner, who led a long life of exile in Algiers at the beginning of the 20th century. Far from his native country, he integrated into the upper society of Algiers and devoted his life to art. He was inspired by the impressionists and post-impressionists. Indeed, he frequently went to Paris and rubbed shoulders with many artists, especially sculptors, such as Rodin. The name he chose for his villa refers to that of the first emperor of the Nguyễn dynasty, thus recalling his destiny as the 8th emperor. While the Guiauchains were not in the habit of frequenting art galleries, it is more than certain that the Prince of Annam and his wife met Mai Trung Thứ in the early 1940s during his first visit to Algeria. It would probably be the princess who would be at the origin of the presence of this magnificent silk in the Guiauchain collection, a collection in which it has been kept until today.
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