LÊ PHỔ (1907-2001)

Lot 13
Go to lot
Estimation :
500000 - 800000 EUR
Result with fees
Result : 641 600EUR
LÊ PHỔ (1907-2001)
Sur la terrasse, circa 1940 Ink and color on silk, signed upper left 57 x 38,1 cm - 22 7/16 x 15 in. LÊ PHỔ 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 promoted 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. “The work of Lê Phổ is not a compromise between between Vietnamese art of Chinese origin and Western Western art. It is a fusion of two mentalities, of two worlds and two continent”. It is in these words that describes the art critic Waldemar-George, a former student of the of Fine Arts of Indochina. This double dimension present in the work of Lê Phổ is also found in the handling of his subjects. On the Terrace is situated halfway between tradition and modernity. Under the guise of a traditional vision, the artist proposes a modern approach to the woman, made in the very early 1940s. If the model apparently embodies a traditional Vietnam, she nevertheless stands out with a touch of modernity. Her traditional tunic called áo dài with dark colors, is delicately highlighted by a bright yellow border and sparkling red buttons. The fabric hugs her body and highlights her curves. Small rebellious locks escape from her traditional turban worn on a parting in the middle. Her oval face, her slightly made-up lips and her almond-shaped eyes make her a universal Vietnamese model. The fineness of her features but also the refinement of her dress underline her social status. More than a simple portrait of a woman, this scene is also a maternity. Far from the maternities of tenderness, it is here an intimate moment shared between a mother and her son. The mother watches over her little boy with a tender look. The state of mind of this woman is captured through her gestures and facial expression. Lê Phổ immortalizes here characters who do not engage in a posing session but rather are living the moment. The boy with surprisingly blue eyes stands out from the characters usually represented. Through a technique mixing the West and the Far East, the artist immortalizes the beauty and grace of the women of her country. If the medium made of ink and colors on silk is specific to the teaching of the Indochina School of Fine Arts, the posture of the model borrows from the Italian Mannerists of the 16th century. Her serpentine figure accompanied by the movement of the scarf pays homage to the European masters he admired during his travels in the early 1930s. The pyramid-like composition is punctuated by movement: the creeping foliage climbs while the boy’s arm undulates. The wooden balustrade of the terrace provides a certain perspective and completes this refined decor with Asian resonance. A soft and serene atmosphere emanates from this work. The Olympian vision of Indochina in the 1940s allowed Lê Phổ to be noticed by the gallery owner Romanet who exhibited it in Algiers at the Galerie Pasteur from 1942 to 1944. This work was part of the exhibition entitled Maï-Thu, Le Pho, Vu Cao Dam, Peintures Indo-Chinoises. Almost a century later, the undeniable charm of On the Terrace still operates.
My orders
Sale information
Sales conditions
Return to catalogue