VŨ CAO ĐÀM (1908-2000)

Lot 12
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Estimation :
60000 - 80000 EUR
Result with fees
Result : 81 900EUR
VŨ CAO ĐÀM (1908-2000)
Le guerrier, 1973 Oil on canvas, signed and dated lower right, titled, countersigned and dated on the back 60 x 73 cm - 23 5/8 x 28 3/4 in 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 Le Guerrier is a remarkable synthesis of Vũ Cao Đàm’s work from the 1970s. Made in 1973, this painting represents one of the artist’s strongest sources of inspiration. Composed of a horse and a warrior, this painting is emblematic of his work. It also recalls the strong symbolism surrounding horses in Asia. Evoking prestige but also power, they have been represented many times by the artist. The human figure is also an essential part of the master’s art. The round silhouette of the warrior and his traditional Vietnamese dress are both characteristic. This work demonstrates the artist’s artistic evolution from the 1950s, marked by his move to the south of France. Definitely adopting oil, which is the Western medium par excellence, Vũ Cao Đàm plays with his brush to bring more nuance and a certain elaboration. Making this brushed touch a real asset, the artist does not represent a figurative background. In fact, he subtly draws it up in a very avant-garde way that could evoke the compositions of his contemporary Zao Wou-Ki.
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