Vũ Cao Đàm | 武高談

Hotel Drouot, Paris, Etude Binoche, 17th February 1995, lot 78.

Collection of Christian Duc (1947-2013).

European Private Collection (acquired from the above).

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巴黎德魯奧，Binoche拍賣，1995年2月17日，編號78

Christian Duc 收藏 (1947-2013) （購自上述來源）

歐洲私人收藏（購自上述來源）

Laurin Isabelle, Revue de la Société des Amis du musée national de Céramique n°17, 'Sèvres, années 30. Une exposition sur la séduction des matières', 2008. pp. 147-153, pl. 14.

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Laurin Isabell(2008年)，〈塞夫爾三零年代，媒材之誘惑力〉，國立陶瓷博物館之友，17期，頁147-153，圖版14

Vũ Cao Đàm may be recognized for his paintings of romantic scenes of women and children in serene landscapes, or of the dreamlike paintings of men riding on horses, the artist was first and foremost a sculptor. Displaying an extraordinary talent as a sculptor at an early stage, Vũ Cao Đàm entered the Ecole des Beaux-arts de Indochine in 1926 and stood out for his gift for modelling and understanding of three dimensionality. Unlike Lê Phổ and Mai Trung Thứ who focused on two-dimensional painting and mediums, Vũ worked across various mediums and only focused on painting mid-career.

At only 23 years old, Vũ Cao Đàm was selected to participate in the important 1931 Paris Colonial Exhibition that showcased the best products of the French established Ecole des Beaux-arts. The principal at the time, Victor Tardieu, selected seven of Vũ Cao Đàm’s sculptures to display. Vũ’s sculptures were widely celebrated in the French press and among art critics. Vũ Cao Đàm then studied in Paris at the Ecole de Louvre between 1932-34 and submitted further sculptural works to the Salon des Artistes Francais, including portrait busts of the Vietnamese Emperor Bao Dai and a monumental Buddha image. His reputation as a sculpture led him to numerous commissions of important individuals.

In 1934, Vũ Cao Đàm signed a contract and produced an edition of a bust of Bust of a young Indo-Chinese in ceramic with the well-known Manufacture of Sèvres. This model was first cast in bronze and exhibited during the 1931 Paris Colonial Exhibition, see, "The official organization report of École de Beaux-Arts at International Colonial exhibition in Paris", Victor Tardieu, INHA Victor Tardieu Archieve, 125/7.

武高談擅於描繪婦孺置身寧靜景觀的浪漫場景，或男人騎馬的夢幻畫面，但其實雕塑為其初衷。武高談很早就展現出非凡的雕塑才華，其於1926 年進入河內中南半島美術學院學習，在建模與對三維空間的理解方擁有極其出色的天賦。與黎譜和枚中栨不同，武高談不僅專注於平面繪畫媒介，亦嘗試其他媒介，其職業生涯中期後才專注於繪畫。

1931 年，年僅 23 歲的武高談以佳作獲選參加展出巴黎殖民博覽會。當時中南半島美術學院校長維克多・塔迪歐挑選七件武高談的雕塑參展，展書後受廣受法國媒體與藝術評論家的讚譽。1932 年至 1934 年間武高談於巴黎羅浮宮學習，並向法國藝術家沙龍提交更多雕塑作品，包括越南保大帝的半身像與紀念佛像。其名聲為他贏得了許多重要人士之委託。

1934年武高談與法國著名塞夫爾陶瓷製造廠合作，製作陶瓷版「中南半島少年頭像」。此件頭像鑄銅版本首先於1931年巴黎殖民博覽會中以鑄銅版本展出，見維克多．塔迪歐正式彙報，1931年，INHA，編號125/7。