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TA TY
(1922)
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1922 : Born in Hanoi, Vietnam
1943 : Graduated from the Indochinese Fine Arts School
1951 : Exhibited the sixty works in Hanoi
1956 : Fierst show more than sixty works in Saigon
1961 : Second show the nearly 60 cubic and abstract paintings in Saigon
2004 : He died on August 24th , 2004 in HCMC.
Besides, he is good at writing poems and short
stories.
His works can be found in many International
Galleries in Tokyo, San Francisco, New York and Paris.
Prize of the Salon Unique about the Summer
Sunshine works in 1946.
Born in 1922 in Hanoi –Graduated from the
Indochinese School of Fine Arts in 1943- Has had works displayed in
International Expositions in Tokyo, San-Francisco, New York…Has received a prize
for his work entitled “NangHe”{ (Summer sunshine) at the Salon Unique in 1943 –
His works entitled “HoaDang” (Flowery Lanterns Festival) of surrealistic
tendency received a prize of the Press Assiation of Vietnam in 1946 – Has
exhibited 60 Cubisticworks in Hanoi in 1951 – 1st exposition in
Saogon of over 60 Cubistic works in 1956 – 2nd exposition of more
than 60 paintings going from Cubistic to Abstract in 1961 – Besides painting,
painter Ta Ty also write short stories and poems; he lives at the present time
in the USA – He works are well appreciated and sought after by art art lovers
throughout the world , mainly in the USA and in European countries…
PAINTER TATY’S CONCEPT OF PAINTING.
1. Vietnamese painting now has several
schools, from Impressionism to Abstractionism, but I have chosen a new way, so,
after going through Impressionism, Neo-Impressionism, Cubism, Surrealism, I’m
adopting Abstractionism now.
2. For me, national character or international
character isn’t very important at all, the most important factors reside in the
beauty of the work, in the aspiration it can express, in its ability to meet
with the demand pf Progress.
3. Facing an abstract painting, the art lover
would try his best to understand what the painter has painted, what does he try
to “say” with his work. If not patiently trying to study and understand, the
viewer might be filled with a serious un easiness ; unfortunately, in spite of
his good will and patience, he still cannot understand if he’s deprived of all
technical knowledge or bookish experiences. He’ll find himself standing before a
high wall blackening and blocking his communion with the artist. Upon looking at
an abstract painting, the viewer mustn’t try to understand what the painter had
painted, he must only try to find out what he has though of the painting in face
of him, what impression he has a first gotten, engendering his emotion. Are
such forms and colours the viewer’s own symptoms impressed on his
sub-consciousness? The painter himself doesn’t have signature at a corner. This
name is also just a kind of trade mark as, while painting and creating, he’s
himself just another viewer, emdowned with certain “priority”, as he has the
technique, and that’s it. In contemporary and morden paintings, no one has the
right to oblige other people to appertain to his ideas and technique, in other
words, in his way of painting. Everyone must find in the painting he looks at
his own passion.
Art does not lie in transeribing and mixing
everything. It is an effort of construction and creation. The artist constructs
with his blood and his tears ; He creates wuth his soul and with light.
“Love us and understand us, we have given all
our time and our life to the research of truth”, that is a summons from those
who adore life and beauty.
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