Nhaccuatui

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MAI TRUNG THU (VIETNAMESE, 1906 -1980)Deux femme se coiffant (Two Ladies Styling)signed "Mai Thu" and dated in Chinese "1955" (upper left); signed "Mai Thu" & dated in Chinese "1955" (lower left)two ink & gouabịt on silk in artist"s original frameseach: 24 x 14 centimet. (9 một nửa x 5 một nửa in.)(2)Painted in 1955one seal of the artist on each


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Galerie Apesteguy, Deauville, FrancePrivate Collection, FranceAcquired from the above sầu by the present owner
This Lot has been sourced from overseas. When auctioned, such property will remain under “bond” with the applicable import customs duties and taxes being deferred unless & until the property is brought inkhổng lồ free circulation in the PRC. Prospective buyers are reminded that after paying for such lots in full & cleared funds, if they wish khổng lồ import the lots inlớn the PRC, they will be responsible for and will have sầu lớn pay the applicable import customs duties & taxes. The rates of import customs duty & tax are based on the value of the goods and the relevant customs regulations and classifications in force at the time of import.


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Born in 1906, & one of the first graduates from the École des Beaux Arts de Indochine, Mai Trung Thu’s use of the distinctively Vietnamese medium of silk can be traced to lớn his early training. His early works focus on idyllic pastoral life and a nostalgic reminiscence of the past. In 1937, Mai Trung Thu moved to France and was part of the early group of Vietnamese artists active in Paris. He would eventually spkết thúc the rest of his life in France, continually refining his paintings of female portraiture for which he is the most well-known for. Painted in 1955, Deux femme se coiffant (Two Ladies Styling) depicts the delicate and youthful vanity of two young ladies with Mai Trung Thu’s characteristically precise brushwork on the fragile medium of silk. One figure daintily holds a wooden comb in one hand while her other pulls back her flowing blaông chồng hair. In contrast the other figure puts the finishing touches on her elegantly functional hairstyle & is dressed in a traditional Trắng Vietnamese silk tunic – the White of her dress và her neat bun a symbol of purity. The ladies are depicted with distinctively Oriental perceptions of beauty, while their eyes reveal a hint of melancholy.Mai Trung Thu used an extremely fine brush and gentle water polish to accomplish the finesse of Eastern aesthetics with the colouring techniques of Western painting. The resultant works vividly depict the appearance of the ikhuyễn mãi giảm giá traditional Vietnamese woman on the glimmering medium of silk, showcasing the extraordinary elegance and delicate beauty of his subjects.

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