The exhibition "The Essence of A Pearl" started at Madame Lân Restaurant in Da Nang on December 22nd, commemorating the 100th anniversary of the founding of the Indochina College of Fine Arts. The event is a special reunion, showcasing each historical phase of the school's art history through works by both teachers and students, including Tô Ngọc Vân, Nguyễn Tường Lân, Trần Văn Cẩn, and others. All the artworks are owned by the Phù Sa Art Foundation and were transported from Hanoi to Da Nang.

Ace Lê - Art curator & Founder of Lân Tinh Foundation.

35 works by 14 prominent artists are organized into five main clusters, each highlighting a group of faculty and students from various disciplines. These pieces explore new facets of Indochinese art, from the study and formation at the school, the development of artist groups, to their decisions to emigrate and the impact of their experiences away from their homeland.

"As a researcher and practitioner of art, I deeply understand the role and value of Indochinese paintings within the continuum of local art. The Phù Sa Art Foundation aims to present these cultural legacies to the public, providing young artists in Vietnam with opportunities to observe, study, evaluate, and learn from the previous generation."

Ms. Lê Hoàng Nam Phương, founder of the Phù Sa Art Foundation, stated that the exhibition is not only a journey to revisit the past but also a bridge connecting the present and future of Vietnamese art.

Nguyễn Tường Lân (1937)

Thiếu nữ mặc yếm has garnered significant attention from viewers at the exhibition. Completed by Nguyễn Tường Lân in 1937, the painting emphasizes watercolor and gouache on silk. It depicts a village girl standing beneath a cassia tree among a bamboo grove. She wears a traditional black hat and a linen dress, with her áo tứ thân (four-part dress) flowing in the breeze. The greenish-blue of her outer garment contrasts with the yellow smock and purple belt, creating a striking new color palette. She gazes down at a piglet, which is observing the newly sprouted cassia buds. The girl's proactive stance showcases the artist's innovative and confident perspective.

Trần Văn Cẩn (1940)

 The painting "Gội đầu" painted by Trần Văn Cẩn (1910-1994) in 1940, won first prize at the Annam Art (Farta) exhibition three years later. The work draws inspiration from Hàng Trống paintings and Japanese ukiyo-e, depicting a rural woman bathing after a day of farming. Her strong stance, resting her upper body on a support, reveals her chest and flowing hair. This sense of freedom contrasts sharply with the modest and reserved demeanor of the Hà Nội lady often portrayed in Indochinese paintings, who is typically shown leaning on a table or hiding behind a curtain.

Phạm Hậu (1940)

The lacquer painting "Phong cảnh trung du Bắc kỳ" by Phạm Hậu (1903-1994), painted in the 1940s, was once part of a decorative cabinet ensemble, inviting viewers into a world of pristine and majestic nature. The use of color variations such as brown, yellow, crimson, and black brings the scene to life. The artist employs a cross-hatching technique to create intricate details, providing an expansive, top-down perspective of the landscape.

In its 20 years of operation, despite using European painting curricula in its teaching, both the faculty and students of the Indochina College of Fine Arts explored innovative perspectives by localizing their artistic themes. Whether through portraiture or landscape painting, they endeavored to infuse their works with rich traditional materials and Vietnamese identity.

This convergence resulted in unique cultural gems within the continuum of Indochinese art and served as the foundation for modern Vietnamese art.

Lê Phổ (1930)Vũ Cao Đàm (1966)


Jean Võ Lăng (1940-1950)Joseph Inguimberty 


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