Ta Ty

Ta Ty

artist's profile



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…



  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.

Chu Tu writer Chinese ink on paper 26×20.5 cm (#Tty01)


The field Gouache on paper 37.5×38.5 cm (#Tty02)


Under the moon Gouache on paper 38×28 cm (#Tty03)


Music Gouache on paper 13×27 cm (#Tty04)