The softness allowed by the successive washings of colors brings a refined aspect that can be observed in En plein air. Done in the early 1940s, this work allows the artist to exalt the beauty of his models. One is absorbed in her reading while the other is lost in her dreams. They are dressed in áo dài, a traditional dress that emphasizes their graceful curves and slender waists. With their hair delicately pulled up in buns and their lips covered in red makeup, these two women are exquisitely elegant and refined. The oval shape of their faces is characteristic of the works produced in these years and emphasizes the representation of Vietnamese canons. The accessories used in the composition complete this Vietnamese vision. Indeed, the arm cushions on which one of the young women rests, as well as the small wooden box, are typically Asian objects.
If the Far Eastern influence permeates this work, it also borrows from the repertoire of European art history. Thus, if the artist has distinguished himself by his fashion illustrations in specialized Vietnamese magazines, the outfit worn by the young women also cites the wet folded drape of Greek statuary. Associated with the scarf, they serve as a pretext for the representation of movement. The movement and more particularly the torsion of the body following a serpentine line is also represented, borrowing these codes from the Italian mannerists of the 16th century. Finally, although of Asian influence, the construction of the landscape and the balance of the composition is not without evoking the old masters.
Remaining faithful to one of his favorite themes, Mai Trung Thứ demonstrates that beyond his perfect mastery of the technique, he also knows how to skillfully mix references while offering an ideal vision of Vietnamese culture.
The artwork will be at 42nd ‘Asian painters’ auction of Aguttes, 14h30’ [French time], March 7, 2024.
Source: Aguttes
