Nguyen Van Ty

Having graduated from the Ecole des Beaux-Arts de L'Indochine, class 1936-1941, Nguyen Van Ty distinguished himself as a qualified realist painter with an Oriental trend in lacquer paiting. It's a pity that this Oriental tendency was not promted by the artist after peace restoration in 1954 when he returned to his initial realist style. Little was left from his pre-1945 work since they were lost in the war. The remaining pictures show that he was also influenced by Botticelli's style of lengthened bodies like Nguyen Gia Tri: it was combined with two-dimensional flat space in his lacquer paintings. The said style still followed him for a very long time but it was eventually associated with real three-dimensional space and the portrayal of farmer's everyday life in northern Vietnam which lessens the artist's romantic character in his youth.

Nguyen Van Ty always aspires to perfection in artistic creativity so every detail in the picture was meticulously drawn. He tried to carefully depict a single tree branch, a cluster of leaves or people and the scenry on a difficult artistic medium such as lacquer. Furthermore, he created complex compositions with a great many forms and figures, a difficult task that requires a masterful competence and paintaking drawing technique quite unachievable by most of his contemporary fellow artists.