NGUYEN PHAN CHANH | Rice Planters

Acquired directly from the artist in 1959
Private Collection of Miklós Rév 
Thence by descent to the present owner
Private European Collection

Imre Patkó and Miklós Rév, L’Art du Vietnam, Editions Aimery Sogomy, Paris, 1967, p. 15, no. 6, black and white illustration 

This work is in good overall condition as viewed. There are a few runs to the silk (example at upper left edge and at the legs of the left figure), but this is consistent with the age of the work and the nature of the medium. There are some small spots of discoloration at the upper right quadrant at background. Examination under ultraviolet light reveals no sign of restoration as viewed. Framed, under plexi glass.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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Rice Planters is a remarkable work by Vietnamese master Nguyen Phan Chanh, depicting a bucolic vignette of the Vietnamese countryside. As paintings from the artist rarely come to market, Sotheby’s is proud to offer this excellent work from the collection of distinguished Hungarian photographer, Miklós Rév (1906- 1998).  

Miklós Rév was a prolific photographer who was active during the Soviet occupation of Hungary. In 1959, Rév and journalist Imre Patkó travelled to Vietnam. Rév was famous for documenting life under the Iron rule and, through their journey, the pair met artist Nguyen Phan Chanh, who they held in high regard. Rév  and Patkó then published a book titled L’Art du Viet-nam (The Art of Vietnam), that chronicled their observations of Vietnamese arts and culture. An image of Phan Chanh’s Rice Planters was published in their book alongside a lovely passage about the artist who was described as a humble, bespectacled man with a beard. The painting had been given to Rév with an inscription on the backing of the work dated 24^th of March 1959, in Hanoi, Vietnam. The work is painted almost like a photograph, a snapshot of a busy day at the padi field, a befitting gift to Rév, who also enjoyed photographing such scenes. 

Nguyen Phan Chanh was born in the Tien Bat province of Ha Tinh (Nghệ Tĩnh) and raised in a family of Confucian scholars. At a young age, he studied calligraphy from his father and was the only candidate accepted from Central Vietnam to train at the École des Beaux-Arts de l’Indochine under the tutelage of its founder, French artist Victor Tardieu. Unlike his younger peers such as Le Pho, Mai Trung Thu and Vu Cao Dam, who all explored a myriad of mediums of painting, Phan Chanh remained loyal to developing a prominent aesthetic and mastery of silk painting.

Rice Planters displays a more vibrant palette with lively greens and blues compared to his earlier works that embody a mostly muted, sepia-toned color scheme. The gradation in the dark greens creates depth and movement within the painting, defining the cluster of thick vegetation in the background. Phan Chanh treats the padi field in an exquisite manner, depicting the rice seedlings in a bright jade green, akin to tiny gemstones glimmering softly in the sunlight. He has an extraordinary ability to capture the color and essence of Vietnam, from the earthy browns and reds of their traditional attire, to the earthenware found in the households of ordinary Vietnamese people. The warm, picturesque colors of the painting create a peaceful and serene atmosphere, transporting its audience to the balmy and lush Vietnamese countryside.

The painting captures a moment of calm amidst a busy day at the padi field. Phan Chanh’s immaculate brushwork elegantly captures the four women hard at work in the field. The woman on the far right stands most prominently in the foreground and is rendered in striking detail, with poise and dignity, as she grasps the rice seedlings in both of her hands. She is gazing directly at the viewer, suggesting that she had been acknowledging the artist’s scrutiny – a rare stance and unusual occurrence for one of Phan Chanh’s works. The artist delineates the woman’s features delicately and paints her hair with an ethereal silkiness, capturing the loose strands that fall gently against her forehead. Her clothes are meticulously painted, demonstrating his skill and ability to capture fabric. From the tight knot of her headscarf to the soft folds of her rolled-up pants, Phan Chanh’s technical mastery of silk painting is apparent, and Rice Planters is an excellent example of the artist displaying his confidence with handling fluidity and the unforgiving nature of ink and gouache.

In his oeuvre, Phan Chanh glorified the circadian life and social realities of ordinary Vietnamese folk. Farmers such as the girls depicted play an integral role in the social fabric of the country, as they are responsible for growing the food that will feed a nation. He portrays with such acuity elements as diverse as the glass-like effect of the water in the padi field and the minutiae of the rice seedlings, rendering the fuzzy, almost feathery-like textures of the roots with intricate brushstrokes.

Rice Planters demonstrates Phan Chanh’s technical abilities in painting as well as his keen understanding of the properties of light and water. The effects of reflection and refraction are skillfully portrayed, from the odd bends and proportions of the partially submerged hands and feet of the women, to the faint reflections suspended on the surface of the water. Phan Chanh renders the water like a translucent weightless mist that gently floods the picture, paying particular attention to its murkiness as the women plant the seedlings into the ground. In other areas, the water is tinged with a green hue, to reflect the vegetation residing in the background. Phan Chanh uses the stillness of the water to build a connection between the foreground and the background, allowing the gaze of the viewer to naturally wander to the horizon and imagine the vastness beyond the padi field.

Fresh to the market and with an exceptional provenance, Rice Planters is a triumphant work that celebrates Nguyen Phan Chanh as one of the most important figures in modern Vietnamese art history.