Le Pho (1907-2001) Jeune fille au treillage de bétel Ink and color on silk, signed upper left titled on the back 30 x 24 cm - 11 3/4 x 9 3/8 in. 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. Produced around 1940, Jeune fille au treillage de bétel is a remarkable example of the artist’s perfect mastery of ink and colour on silk. This technique was learned during his training at the Indochina School of Fine Arts and was developed under the guidance of the school’s director, Victor Tardieu. The process consists of applying black ink, coloured ink or gouache to silk in successive washes, and brings an unstoppable softness and delicacy to the works. The works of Lê Phổ, which are marked by an evolution of his style over the years, give pride of place to silk, particularly in his early years of practice. The work presented for sale is part of this period. Although the representation of the female model is a constant in his work, the artist endeavours to introduce distinct elements making each composition a unique painting. In Jeune fille au treillage de bétel (Young Girl with Betel Trellis), Lê Phổ offers a rare vision in which his attachment to his native land is manifested through various symbols. A young woman stands on a trellis made of bamboo, an Asian plant par excellence. Around this trellis is wrapped Bethel, a liana that also originates from South-East Asia where it is often used as a chewing paste. The young woman’s face is in keeping with the Asian canons: oval-shaped, with almond-shaped eyes and a thin mouth to complete this delicate portrait. Her porcelain complexion contrasts delicately with the ebony of her hair. She wears a turban characteristic of Vietnamese women. If the references to Asia are undeniable, other influences can be guessed. Marked by the discovery of the old masters and more particularly by the Italians of the 16th century, Lê Phổ also relies on the mannerist lesson. From these painters, he retains the serpentine line that undulates here from the entangled hands to the body position. The movement of the scarf and its detail evokes the wet drapery of the Greeks. Through a clever mix of influences, Lê Phổ manages to pay homage to his culture while honouring the ancients, but above all he immortalizes his vision of female beauty

Le Pho (1907-2001) 年轻女孩与槟榔树 丝绸上的水墨和色彩，左上方有签名，背面有标题 30 x 24 cm - 11 3/4 x 9 3/8 in. 夏洛特-阿古特斯-雷尼尔目前正在为巴黎的亚洲艺术家协会准备的艺术家目录中，将向买方提供一份收录证书。 证据 私人收藏，法国 Lê Phổ被认为是越南现代艺术的领军人物之一，他于1907年出生在Hà Tây省一个受人尊敬的官吏家庭，他的父亲是最后一个越南总督。他表现出对绘画的倾向性，于1925年加入了印度支那美术学校的第一期课程。他很快就被学校的主任和创始人维克多-塔迪欧注意到了，他一生都对他保持着强烈的感情。Lê Phổ把他的老师的教导吸收得很完美。该学校重视越南的艺术传统，如丝绸画和漆器，同时也让这批新一代的艺术家了解西方的艺术历史和技术。事实上，人们很容易在Lê Phổ的作品中读到意大利原始派或印象派的影响。1931年，他来到法国，在国际殖民地展览会上展示他的作品。他选择在巴黎呆了一年，进入美术学院学习，然后多次到欧洲旅行。他于1933年回到越南，在河内的印度支那美术学校任教。1937年，他决定在法国永久定居，并很快获得了一定的名声。 创作于1940年左右的《槟榔树下的少女》是艺术家在丝绸上完美掌握水墨和色彩的一个杰出范例。这种技术是他在印度支那美术学校培训期间学到的，并在该校校长维克多-塔迪厄的指导下得到发展。这一过程包括将黑墨水、彩色墨水或水粉连续洗刷在丝绸上，给作品带来了不可阻挡的柔软和细腻。Lê Phổ的作品，以他多年来的风格演变为标志，特别是在他早期的实践中，丝绸被放在了最重要的位置。提交出售的作品是这个时期的一部分。 虽然女性模特的表现在他的作品中是一个常态，但艺术家努力引入独特的元素，使每一个构图成为独特的绘画。在《带着槟榔树的少女》中，李菲提供了一个罕见的视野，在其中他对他的故土的依恋通过各种符号表现出来。一位年轻女子站在由竹子制成的花架上，竹子是亚洲的一种优秀植物。在这个花架周围包裹着贝特尔，这是一种也来自东南亚的藤本植物，在那里它经常被用作咀嚼膏。年轻女子的脸符合亚洲的典范：椭圆形，杏仁形的眼睛和一张薄薄的嘴，完成了这幅精致的肖像。她瓷器般的肤色与乌黑的头发形成了微妙的对比。她戴着越南妇女特有的头巾。如果说对亚洲的引用是不可否认的，那么其他的影响也是可以猜到的。Lê Phổ的标志是发现老大师的作品，尤其是16世纪的意大利人，他也借鉴了曼纳主义的教训。从这些画家那里，他保留了蛇形的线条，在这里从纠缠在一起的手到身体位置的起伏。围巾的动作和细节让人想起希腊人的湿帘子。通过巧妙地混合各种影响，Lê Phổ设法向他的文化致敬，同时向古人致敬，但最重要的是他使他对女性美的看法不朽。 我们的目标是，让所有的人都能享受到我们的服务，让所有的人都能享受到我们的服务，让所有的人都能享受到我们的服务。Lê Phổ sinh năm 1907 tại tỉnh Hà Tây trong một gia đình quan lại ương kính nể, cha là kinh lươc sứng cùa Bắc Kỳ。在1925年的时候，他就已经开始为Trường MỹThuật Đông Dương提供服务。维克多-塔迪厄（Victor Tardieu），他的父亲，以及他的妻子，都是一个很好的例子。Lê Phổ tiếp thu một cách hoàn hảo những lời dạy của những ngời thầy của mình.如果您想了解更多关于越南的情况，请联系我们。在这个过程中，Primitives公司的员工们都在努力工作，因为他们都有一个共同的目标，那就是把他们的工作做好。从1931年起，张伯伦就开始为自己的孩子们提供服务。

Le Pho (1907-2001)

Le Pho (1907-2001) 224 - LE PHO (1907-2001)

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