MAI TRUNG THỨ (1906-1980) - Lot 25

Lot 25
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Estimation :
120000 - 150000 EUR
MAI TRUNG THỨ (1906-1980) - Lot 25
MAI TRUNG THỨ (1906-1980) Grandmother, 1976 Ink and colors on silk, signed and dated upper right. In original frame made by the artist 22 x 47 cm - 8 5/8 x 18 1/2 in. Ink and color on silk, signed and dated upper right. In its original frame, made by the artist A certificate of inclusion in the artist's catalog raisonné currently being prepared by Charlotte Aguttes-Reynier for the Association des Artistes d'Asie à Paris will be given to the purchaser. BIBLIOGRAPHY "L'art moderne en Indochine", Charlotte Aguttes-Reynier, In Fine éditions d'art, 2023, repr. p. 281 PROVENANCE Private collection, Paris Sale [34] Aguttes, June 2, 2022, lot 225 French collection Although Mai Trung Thứ is one of the most consistent artists of the Indochina School of Fine Arts in her choice of subjects, her style has evolved over the years. Silhouettes began to simplify in the 1950s, faces became rounder and backgrounds more neutral. These changes were reinforced in the 1960s and are particularly evident in the works of the 1970s. Made in 1976, Grand-mère is also marked by a different vision of color. These were the years of bright, acidic hues. Pinks, blues and oranges playfully shimmer through the composition, while the blue-green gradation of the background enhances this colorful palette. If the treatment of the subject is marked by the evolution of the artist's style, the subject itself is characteristic of his corpus. Marked by the Confucianism reigning in his native country, filial piety appears as a central value. The inter-generational bond and respect for ancestors are regularly evoked in his work. In the ink and color on silk painting for sale, a grandmother is surrounded by her two granddaughters. With her benevolent smile, she seems to be watching over the next generation. The daughters listen attentively to their eldest's wisdom. The different generations are marked by the way they dress. The children wear a simple tunic, while the grandmother wears a more traditional outfit: the áo dài. The grandmother's outfit is very flirtatious, with a pearl necklace and two colorful buttons. Mai Trung Thứ has a perfect grasp of Vietnamese values, and brings them to light with a unique style that combines a background halfway between East and West with a singular vision in which color plays an important role. Although Mai Trung Thứ is one of the artists of the Indochina School of Fine Arts who is most consistent in his choice of subjects, his style has evolved over the years. The silhouettes began to simplify in the 1950s, the faces became rounder and the backgrounds gave way to neutrality. These changes were reinforced in the 1960s and are particularly evident in the works of the 1970s. Grand-mère, made in 1976, is also marked by a different vision of colour. These were the years of bright, acidic tones. Thus, pink, blue and orange shimmer cheerfully in the composition, while the background, brushed with a blue-green gradation, contributes to highlighting this colourful palette. If the treatment of the subject is marked by the evolution of the artist's style, the subject itself is characteristic of his corpus. Marked by the Confucianism reigning in his native country, filial piety appears as a central value. The inter-generational bond but also the respect of the ancestors are thus regularly evoked in his work. In the ink and colours on silk presented for sale, a grandmother is surrounded by her two granddaughters. With her benevolent smile, she seems to be watching over the next generation. The daughters listen attentively to the wisdom of their elder. The clothing marks the different generations. The children wear a simple tunic while the grandmother wears a more traditional outfit: the áo dài. The grandmother's outfit is very charming: a pearl necklace with two coloured buttons enhances her outfit. Mai Trung Thứ perfectly captures Vietnamese values and brings them to light through a unique style composed of a training halfway between East and West but also of a singular vision where colour has its importance.
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