My interview in Argument magazine
One lucky day, while I was scouring exhibitions and auction houses in search of masterpieces and new talent, I came face…
Luong Xuan Nhi, « Portrait de dame », 1939, or the elegance of the combat
The 1930s-40s in Vietnam witnessed a resolute questioning of Confucianism and increased promotion of the country’s independence. Independence was evoked,…
Truong Bé, 2006-2009, or language without words, permeated by sound
Born in Quang Tri, Truong Bé entered an intermediate Fine Arts teaching program in 1962, and graduated 3 years later.…
Le Pho, « Le Philosophe » 1956, or the artist’s imperturbability
In 1956, Le Pho, who still exhibits at Galerie Romanet – which has brilliantly promoted his work since 1942 –…
Vu Cao Dam, « Le Départ », 1953, or the tragedy of the present times
Living in France since 1931, Vu Cao Dam – who never returned to Vietnam – was a subtle thurifer of…
Boi Tran, « Élégantes de Hué », 2015, or the inevitable choice of distinction against fate
By 1975, the entire Hué region had regained its silence, the wounds were still wide open. As the pivotal point…
An exceptional exhibition of vietnamese paintings presented by Christie’s Paris, 8-13 June 2024
“The Phoenix Glue and the Broken Silk Thread: Major Vietnamese Works from the Melchior Dejouany Collection”, the exhibition conceived and…
Vu Cao Dam, 1940 – 1980, « Head », « Maternity », « Portrait of a friend’s son », or the poetic refusal of essentialization
As Le Pho himself told me – and in so doing, demonstrated a very elegant modesty: “Vu Cao Dam is…
Le Pho, « l’adieu au Tonkin », 1936, or the window, mirror of memory
“Farewell to Tonkin” is an essential work by Le Pho. Its symbolic form, unique in the painter’s work, the particular…
Le Pho, « La Baignade », circa 1938, or rubbing shoulders with the Master Bonnard
Le Pho was, from very early on, an unwavering admirer of Bonnard and Matisse. So confident, in fact, that he…