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LÊ PHỔ (1907-2001)
La femme nue, circa 1942
Ink and color on silk, signed upper left, titled and numbered on the reverse
21 x 28 in.
A certificate of inclusion in the catalogue raisonné of the artist currently being prepared by Charlotte Aguttes-Reynier for the Association “Artistes d'Asie à Paris” will be given to the buyer.
PROVENANCE
Galerie d'art Pasteur, Alger-Oran, Algeria
Collection particulière, Algérie
Collection particulière, Sud-est de la France (transmitted from previous)
EXHIBITION
1942, “Peintres français d'Indochine”, Galerie Romanet / Galerie d'art Pasteur, Alger-Oran, Algérie (May), no. 88
When three Indochinese painters exhibit in Algeria...
Between the wars, André Romanet ran a gallery with his wife at 18 rue Matignon in the 8th arrondissement of Paris. He exhibited works by his contemporaries from avant-garde modern movements such as Vlaminck, Derain, Chagall, Picabia, and Cavailles.
Lê Phổ, Mai Trung Thứ, and Vũ Cao Đàm, who had recently arrived in France, were trained at the Indochina School of Fine Arts. When the Lorenceau Gallery exhibited Mai Trung Thứ and Lê Phổ in Vichy in 1941, André Romanet fell in love with the work of these artists, whom he met at the time. The Romanets decided to support the three young artists, advise them, and exhibit their work.
Thus, in the early 1940s, the walls of his gallery were adorned with a new and very distinctive style, where modern Western art began to rub shoulders, under Romanet's light, with the original works of three Vietnamese artists.
André Romanet, who also owned the Pasteur Art Gallery at 55 Rue d'Isly in Algiers and another gallery in Oran, decided to present the trio's work to collectors in the French departments of Algeria. He approached the governorate general to help organize the exhibition. He was warmly welcomed, as Yves-Charles Châtel had previously been senior resident of Laos (1931), Annam (1931-1934), and Tonkin (1937-1940). The exhibition, held in 1942, featured seven works by Vũ Cao Đàm, 42 works by Mai Trung Thứ, and 45 by Lê Phổ. (ill. 1, 2)
La femme nue, circa 1942
Ink and color on silk, signed upper left, titled and numbered on the reverse
21 x 28 in.
A certificate of inclusion in the catalogue raisonné of the artist currently being prepared by Charlotte Aguttes-Reynier for the Association “Artistes d'Asie à Paris” will be given to the buyer.
PROVENANCE
Galerie d'art Pasteur, Alger-Oran, Algeria
Collection particulière, Algérie
Collection particulière, Sud-est de la France (transmitted from previous)
EXHIBITION
1942, “Peintres français d'Indochine”, Galerie Romanet / Galerie d'art Pasteur, Alger-Oran, Algérie (May), no. 88
When three Indochinese painters exhibit in Algeria...
Between the wars, André Romanet ran a gallery with his wife at 18 rue Matignon in the 8th arrondissement of Paris. He exhibited works by his contemporaries from avant-garde modern movements such as Vlaminck, Derain, Chagall, Picabia, and Cavailles.
Lê Phổ, Mai Trung Thứ, and Vũ Cao Đàm, who had recently arrived in France, were trained at the Indochina School of Fine Arts. When the Lorenceau Gallery exhibited Mai Trung Thứ and Lê Phổ in Vichy in 1941, André Romanet fell in love with the work of these artists, whom he met at the time. The Romanets decided to support the three young artists, advise them, and exhibit their work.
Thus, in the early 1940s, the walls of his gallery were adorned with a new and very distinctive style, where modern Western art began to rub shoulders, under Romanet's light, with the original works of three Vietnamese artists.
André Romanet, who also owned the Pasteur Art Gallery at 55 Rue d'Isly in Algiers and another gallery in Oran, decided to present the trio's work to collectors in the French departments of Algeria. He approached the governorate general to help organize the exhibition. He was warmly welcomed, as Yves-Charles Châtel had previously been senior resident of Laos (1931), Annam (1931-1934), and Tonkin (1937-1940). The exhibition, held in 1942, featured seven works by Vũ Cao Đàm, 42 works by Mai Trung Thứ, and 45 by Lê Phổ. (ill. 1, 2)