LE THI LUU (1911-1988) La cueillette du thé Ink and gouache on silk, signed lower right 45.8 x 38.4 cm - 18 x 15 1/8 in. Lê Thị Lựu, a painter born in Vietnam, was one of the very few women to enter the Fine Arts School of Indochina in Hanoi, and the first to have a career as a professional artist. She successfully threw off the Confucian yoke that still weighed women down in the 1930s. With the artists Mai Trung Thứ, Lê Phổ and Vũ Cao Đàm, she was one of the Vietnamese quartet who went to live in France in the late 1930s. She was particularly drawn to subjects involving women and children. Her style was relatively classical, but she emphasised the expression of emotion through her gentle line and colour, and her work contributed to the emergence of Vietnamese modernism. Victor Tardieu, director of the Indochina Fine Arts School, even compared her style to Cézanne’s. Like other women painters who have marked their centuries, such as Artemisia Gentileschi in early 17th century Italy or Berthe Morisot, the first female impressionist painter, Lê Thị Lựu stands out as one of the rare female artists, graduated from the Indochina School of Fine Arts. Although she came from a conservative background, her avant-garde ideas were expressed from the age of 14 where she manifested her desire to paint. Determined to join the training directed by Victor Tardieu, she trained in painting with the images she found in libraries and thanks to her servant who served as a model. Her talent allowed her to join the school and she was soon noticed by the local press. After teaching in various art schools in the country, she met up with her former classmates in France in 1940. Her marriage took her to Guinea to be with her husband until 1945 before she returned to France for good. The work of Lê Thị Lựu, remains rare and discrete. If the treatment of the female figure is a theme dear to the artists of the Ecole des BeauxArts, Lê Thị Lựu stands out for her feminine vision. Faced with comrades inspired by maternal portraits or even elegant women in activity, the artist also depicts women at work as in La cueillette du thé. Far from young women at the toilet or adorned with jewelry, Lê Thị Lựu pays tribute here to these working women. The majority in this rural country, they lose none of their grace in this composition. A woman in the foreground dressed in traditional garb harvests leaves in a wicker basket. In the background, other women are busy with the same task. The fine features of their faces, but also their clothing, underline their Asian origin. The artist’s style is expressed through a clever mix of influences. Relying on the typically Asian medium of silk, Lê Thị Lựu employs gouache in small, furtive and spontaneous strokes. The colorful touch made of small commas has an impressionistic air. Her powdery palette distinguishes her from that of her male colleagues. Playing with the different tones of blues, greens or even pink, Lê Thị Lựu brings a softness and a unique sensitivity to her work. A feminist before her time, Lê Thị Lựu stands out as an essential figure in the history of artists from the Indochina School of Fine Arts by leaving posterity a testimony endowed with an enlightened and particularly endearing eye.

LE THI LUU (1911-1988) 黎氏秋 《采茶》  绢本水墨水彩 45.8 x 38.4 cm - 18 x 15 1/8 in. 水墨和水粉画在丝绸上，右下角有签名 证据 私人收藏，法国(1971年获得) 私人收藏，法国(1990年通过血统传递) Lê Thị Larial是越南画家。她是设在河内的印度支那美术学校为数不多的女学生之一，也是第一个从事职业画家的人。Lê Thi Luu是成功摆脱儒家枷锁的妇女之一，儒家枷锁在20世纪30年代仍很强大。她与画家Mai Trung Thứ、Lê Phổ和Vũ Cao Đàm一起组成了这个越南四重奏，并在1930年代末定居法国。她特别喜欢涉及妇女和儿童的主题。她的风格是相当古典的，但通过线条和色彩的柔和性突出了情感的表达。她的作品是越南现代主义诞生的见证。据说，印度支那美术学院院长维克多-塔迪厄（Victor Tardieu）甚至将Lê Thị Lự的风格与保罗-塞尚相比。 就像其他标志着他们世纪的女画家一样，如17世纪初意大利的阿尔特米西亚-真蒂莱斯基或第一个印象派女画家贝尔特-莫里索，Lê Thị Lu作为罕见的毕业于印度支那美术学校的女艺术家之一而脱颖而出。虽然她来自一个保守的背景，但她的前卫思想从14岁开始就表现出来了，当时她表现出对绘画的渴望。她决心参加维克多-塔迪厄开办的培训课程，利用她在图书馆找到的图片进行绘画练习，并感谢她的仆人担任模特。她的天赋使她得以进入学校，并很快受到当地媒体的关注。在国内各艺术学校任教后，她于1940年在法国与她以前的战友们相聚。她的婚姻将她带到几内亚与她的丈夫在一起，直到1945年她才永远回到法国。汉字Lee Thị Lu的作品仍然是罕见的机密。 虽然对女性形象的处理是美术学院艺术家们所珍视的主题，但Lê Thị Lu因其女性化的视野而脱颖而出。面对受母亲肖像启发的同志，甚至是活动中的优雅女性，艺术家也表现工作中的女性，如《茶聚》。远离厕所里的年轻女性或珠宝装饰，Lê Thị Lự在这里向这些劳动妇女致敬。在这个农村国家的大多数人，他们在这种构成中没有失去任何优雅。前景中一位身着传统服装的妇女正在用柳条篮子采摘树叶。在背景中，其他妇女正在做同样的工作。他们面部的精细特征，以及他们的服装，都强调了他们的亚洲血统。艺术家的风格是通过巧妙地混合各种影响来表达的。依靠典型的亚洲丝绸媒介，Lê Thị Lự用水粉画进行小的、诡秘的和自发的触摸。由小逗号组成的彩色笔触有一种印象派的气息。她的粉色调色板使她与她的男性同事区分开来。玩不同的蓝色、绿色或粉红色，Lê Thị Lự给她的作品带来了一种柔和和独特的敏感性。作为一个超前的女权主义者，Lê Thị Lự在印度支那美术学校的艺术家历史上确立了自己的地位，以开明和特别可爱的眼光给后人留下了见证。 汉字Lê Thị Lu是个很好的例子。我想说的是，如果你是一个人，那么你就会发现，你是一个很好的人。Lê Thị Lựu là một trong những phụ nữ thành công trong việc thoát khỏi ách thng trị của Nho giáo vẫn còn ghi dấu trong những năm 1930.在1930年的时候，越南就已经有了Mai Trung Thứ, Lê Phổ và Vũ Cao Đàm, bà thuộc về bộ tú những.ngương ở Pháp vào cuối những。Bà đặc biệt thích những chủ đề liên quan đến phữ và trẻ em。如果您想了解更多信息，请联系我们。你可以在你的网站上找到关于越南的信息。维克多-塔迪厄，在他的作品中，我们可以看到他对保罗-塞尚（Paul Cézanne）的看法。 在这个问题上，Artemisia Gentileschi和Berthe Morisot的作品都是如此，而Artemisia Gentileschi的作品则是在17世纪的时候才出现的。Lê Thị Lự nổi bật khi là một trong những nữ họn phương hiếm hoi tốt nghiệp trường Cao đằng Mỹ thuật Đông

LE THI LUU (1911-1988)

LE THI LUU (1911-1988) 221 - LE THI LUU (1911-1988)

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