Witness Collection

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Witness Collection is one of the largest private collections of Vietnamese art in the world. It conducts detailed research into the art in its collection and Vietnam's 20th century history, as well as providing state-of-the-art conservation.[1]

The collection comprises approximately 2,000 works of Vietnamese modern and contemporary art since the early 20th century. The collection includes more than 120 Vietnamese artists, whose careers documented the changes that occurred in Vietnam during its recent history.[2]

Subjects range from folk, academic and propaganda art, in styles that include but are not limited to socialist realism, cubism, expressionism and abstraction. The collection reveals diverse social, political and historical commentaries.[3]

Collection[edit]

History[edit]

Witness Collection's origin traces to the founder's ambition to document Vietnam's post-war condition in 1984. The first works were acquired in Hanoi in 1987, including watercolours, silks, woodblock prints and drawings of villages and scenes in Hanoi.[3]

On subsequent trips to Vietnam, the collection was curated and developed. By 2002, the collection had grown to several hundred art works. Over the next year, and after in-depth advice from Vietnamese art specialists, Witness Collection was founded in 2002.[2] Art works added to the collection after the organisation's creation were sourced from Vietnam, Thailand, Singapore, Hong Kong Taiwan, Japan, France, Italy, Australia and the United States.[3]

Periods[edit]

First Generation: École des Beaux-Arts de l’Indochine Influenced (1920s-1945)[edit]

Witness Collection includes art works by École des Beaux-Arts de l’Indochine founder Victor Tardieu[4] and his successor Joseph Inguimberty. Using pencil, pastel and oils, Tardieu and Imguimberty created works inspired by Vietnamese communities and the natural environment in classical styles.[5]

The collection also includes Vietnamese artists influenced by the École des Beaux-Arts de l’Indochine. Art works by Bùi Xuân Phái and Nguyễn Văn Tỵ, for example, emphasise this influence through classical portraits, landscapes, urbanscapes and community scenes.[6][7]

However, the collection also contains artists that departed from the predominantly French-inspired style of the time. Collected artists Trần Văn Cẩn and Tô Ngọc Vân are considered two of the pioneering “Four Masters” of Vietnamese modern art.[8] Others, such as Tạ Tỵ, developed modern Vietnamese art through abstract portraits.[9]

Tú Duyên, a student of the École des Beaux-Arts de l’Indochine until 1942, devised a new technique using only positive and negative woodblocks on silk or paper, adding colours by hand in what he called ‘hand-stamped printing’.[10]

After graduating the École des Beaux-Arts de l’Indochine, Huỳnh Văn Thuận joined the Việt Minh soon after. His works part of Witness Collection exemplify artists with classical French training turning their skills to propaganda work.

Second Generation: Covering the Vietnam War (1945-1975)[edit]

After the Geneva Accords were signed in July 1954, Vietnam was divided into the Democratic Republic of Vietnam (DRV, North Vietnam) and the Republic of Vietnam (RVN, South Vietnam).[11] In the period between 1954 and 1975, North Vietnamese war artists produced a multitude of art works aimed at documenting people, locations and events of the Second Indochina War. As cadres of the DRV, they were often given propaganda assignments to support the war effort.[12]

Witness Collection's extensive body of war art made during the Second Indochina War reveals evidence of both documentary and propaganda driven art. The collection contains quick sketches, often made on the front line of battle or under fire, such as those by Trương Hiểu. Conversely, it also hold pieces created with more care and forethought, such as the original, hand-drawn images meticulously crafted as drafts for propaganda posters by artists such as Nguyễn Thanh Minh.

As important military personnel, war artists were given largely unfettered access to many areas of Vietnam that would have been inaccessible to others. Second generation art works in the collection reveal surprising realities of Việt Cộng soldiers, including how they ate, where they slept, where and how they traveled and how they sustained their ammunition, equipment and livelihood in remote regions.

Art materials were scarce during the Second Indochina War. The collection's second generation art works vary in mediums and materials, ranging from canvases made from Cuban sugar sacks[13] to yellow colouring made from crushed malaria tablets.[14] Even so, the collection also holds some of the only photographic records of PAVN and NLF activities by the photographer Lê Minh Trường.[15]

Vietnam's Post-Reunification Socialist Realism (1975-1986)[edit]

After liberation on 30 April 1975, and the following reunification of Vietnam in 1976, many artists once based in North Vietnam decided to migrate south to Saigon. Although many made the move for different personal reasons, one deciding factor similar among artists was the new air of artistic freedom in southern Vietnam.

Witness Collection's third generation art works explore the prevalence of social realism in Vietnam after the country unified. Artist such as Lương Xuân Đoàn - nephew of first generation artist Lương Xuân Nhị - and Nguyễn Xuân Tiệp – son-in-law of Tô Ngọc Vân - continued creating art that reiterated national pride.

The third generation of Witness Collection art works also documents the brief border war with China. Artists such as Phạm Lực were assigned field trips to northern border towns to paint and sketch Vietnamese defensive positions.

After Đổi Mới (1986-present)[edit]

Following the period of đổi mới, or renovation, Vietnam opened its borders to international trade and exchange. Part of this exchange involved the movement of artistic ideas.

Witness Collection features artists such as Lê Quảng Hà, Trương Tân, Nguyễn Văn Cường, Lê Hồng Thái, Nguyễn Thị Châu Giang and Phạm Huy Thông to name a few. This era introduces a period of artistic experimentation where old techniques were utilised for modern subjects, and a form of social criticism previously unseen in Vietnamese art culture was born.[16]

Artists[edit]

Witness Collection Artists Throughout the Generations
First Generation (1920s-1945) Second Generation (1945-1975) Third Generation (1975-1986) Contemporary (1986–present)
Tô Ngọc Vân Lê Huy Toan Trương Hiểu Phạm Huy Thông
Dương Hướng Minh Lê Lam Ngô Viễn Chí Nguyễn Văn Cường
Hoàng Tích Chu Lê Minh Trường Phạm Lực Nguyễn Thị Châu Giang
Lê Quốc Lộc Nguyễn Thanh Châu Lương Xuân Đoàn Lê Hồng Thái
Nguyễn Đức Nùng Nguyễn Thanh Minh Nguyễn Xuân Tiệp Lê Quảng Hà
Nguyễn Hiêm Nguyễn Thư Trương Tân
Nguyễn Sỹ Ngọc Phạm Thanh Tâm
Nguyễn Văn Tỵ Quách Văn Phòng
Trần Đình Thọ Trần Hữu Chất
Vẫn Giao Trần Việt Sơn
Huỳnh Văn Thuận Trịnh Kim Vinh
Nguyễn Quang Phong Vũ Giáng Hương
Nguyễn Thế Vinh Bùi Quang Anh
Phan Kế An Nguyễn Đức Thọ
Tá Ty Phạm Đỗ Đồng
Thái Hà Vỡ Xương
Vân Đã Trần Hoàng Sơn
Xu Man
Victor Tardieu
Joseph Inguimberty
Bùi Xuân Phái
Trần Văn Cẩn
Tú Duyên
Lương Xuân Nhị
Huỳnh Văn Thuận

Role in Documenting Historical Events[edit]

Anti-Colonial Resistance War[edit]

Phan Kế An rose to notoriety as an artist for his portraits of Hồ Chí Minh organising the Việt Minh resistance in the Việt Bắc. Phan Kế An was taken to live secretly with Hồ Chí Minh and his closest advisors for a period of three weeks in November 1948. The 20 candid and formal portraits he produced were published in the Sự Thật (The Truth) newspaper.[17][18]

Huỳnh Văn Thuận worked for the State Bank of Vietnam in 1953 along with artists Lê Phả and Bùi Trang Chước to create the first portraits of Hồ Chí Minh for the country's new banknotes.[19]

The Vietnam War[edit]

A cornerstone of the collection, works by journalist and war artist Phạm Thanh Tâm span not only documentary and propaganda purposes but also generational conflicts. As a soldier in 351 Artillery Regiment, his sketches during the Battle of Điện Biên Phủ provide raw and intimate examples of the historic feats employed by the Việt Minh to ensure victory. In his career as a soldier during the Second Indochina War, his satirical cartoons are examples of North Vietnam's alternative to America's psychological warfare, used to bolster the moral of communist troops while disheartening that of US and South Vietnamese forces.[20]

Quách Văn Phong, founder of the Ho Chi Minh Fine Arts Association, traveled from South Vietnam to North Vietnam at the end of 1954. During his career as an artist for the People's Army of Vietnam (PAVN) he often worked behind enemy lines in high-conflict areas of South Vietnam. At one time, he was assigned to the Tất Thắng newspaper in Military Zone 6, tasked with documenting the actions of units there in conflict with American air force bases and strategic hamlets.

Works by other artists in the collection, such as Bùi Quang Anh, Nguyễn Thành Châu, Nguyễn Thanh Minh, Nguyễn Đức Thọ and Vỡ Xương, to name a few, provide details covering many facets of PAVN and National Liberation Front (NLF) military life: journeying on the Ho Chi Minh Trail; living in the forests and mangrove swamps of NLF-controlled areas in South Vietnam; the contribution rural people and ethnic minority communities made to the war effort in the northern Tây Bắc region; front-line battles and the final moments during the Fall of Saigon.[21]

Sino-Vietnamese Conflict[edit]

As part of the Vietnam Fine Arts University's policy of sending students on assignments for their degree, artists Lương Xuân Đoàn, Nguyễn Xuân Tiệp and Phạm Lực traveled to Vietnam's northern border to document the Sino-Vietnamese war. Based in Bát Xát District, Lào Cai Province, these artists lived with Vietnamese border defence forces. Their sketches and paintings documented ethnic minorites of Vietnam's northern regions and the destruction suffered by towns in Lào Cai Province.

Conservation[edit]

In addition to collecting, Witness Collection as an organisation is involved in extensive research into Vietnamese art and art history. Some of its recent projects, including conservation and documentation, are now undertaken in conjunction with Asiarta Foundation, a non-profit foundation.[22]

Publications[edit]

Gillian Osmond, Bettina Ebert and John Drennan, Zinc oxide-centred deterioration in 20th century Vietnamese paintings by Nguyen Trong Kiem (1933-1991), AICCM Bulletin, 2014, Australia.[23]

Bettina Ebert, Brian Singer and Nicky Grimaldi, The Use of Aquazol in the Conservation Treatment of Vietnamese Paintings, Journal of the Institute of Conservation, August 2012, UK.[24]

Bettina Ebert, Sally MacMillan Armstrong, Brian Singer and Nicky Grimaldi,  Analysis and Conservation Treatment of Vietnamese Paintings, ICOM-CC 16th Triennial Conference, September 2011, Lisbon, Portugal.[25]

Bettina Ebert and Maria Kubik, Modular Cleaning in Review: An Intensive Workshop at the University of Melbourne, AICCM National Newsletter No. 115, June 2010.

Brian Singer, Sally MacMillan, Nicky Grimaldi and Jean Brown, "Analysis of Vietnamese oil paintings affected by sulphur dioxide pollution", published in Essays on Modern and Contemporary Vietnamese Art.[26]

Sonia Kolesnikov-Jessop,  "A Rare Rescue Mission", Newsweek International.[27]

Bettina Ebert, Part I: A report on the condition and conservation treatment of two paintings on canvas (Portrait of the Artist's Wife and Portrait of a Student, 1963) by Vietnamese artist Nguyen Trong Kiem. Part II: A scientific investigation into the degradation processes of zinc-based paints, together with art historical research. MA research project, 2008, Northumbria University, Newcastle, United Kingdom.[28]

Sally MacMillan,  A report on the art historical investigation, condition, technical examination and initial investigations into the conservation treatment of two paintings on canvas by Vietnamese artist Nguyen Trong Kiem (1933-1991) dated 1963. MA research project, 2007, Northumbria University, Newcastle, United Kingdom.[29]

Featured exhibitions[edit]

1931 - Exposition Coloniale, Paris, France.

1932 - Exhibition of French Painters' Association, Paris, France.

1989 - As Seen by Both Sides, exhibited at 17 museums in the US and 3 museums in Vietnam.[30]

1996 - Paris-Hanoi-Saigon: L'aventure de l'art moderne au Viet Nam, Pavillon des Arts, Paris, France.

2002 - Vietnam Behind the Lines: Images from the War 1965-1975, British Museum, London, UK.[31]

2002 - Another Vietnam: Picture of the War from the Other Side, International Centre of Photography, New York, USA.[32]

2004 - Vietnam Behind the Lines: Images from the War 1965-1975, Hong Kong Museum of Art, Hong Kong.[31]

2005 - Huỳnh Văn Thuận solo exhibition, Ho Chi Minh Fine Arts University Gallery, Ho Chi Minh City, Vietnam.

2005 - Persistent Vestiges: Drawing from the American-Vietnam War, The Drawing Centre, SoHo, New York, USA.[33]

2006 - Il Drago e la Farfalla, Complesso del Vittoriano, Rome, Italy.[34]

2010 - Imprints of Time, Museum of Vietnam Military History, Hanoi, Vietnam.

2010 - Realism in Asia, National Gallery, Singapore; National Museum of Contemporary Art, Korea.[35]

2013 - Du Fleuve Rouge au Mekong, Musee Cernuschi, Paris, France.[36]

2015 - Vietnam 1954-1975, National University of Singapore Museum, Singapore.[37]

2016 - Between Declarations and Dreams: Art of Southeast Asia Since the 19th Century, National Gallery, Singapore.[38]

2016 - Who Wants to Remember a War; and Lines, National University of Singapore Museum, Singapore.[39]

2016 - Hunting Charlie: Finding the Enemy in the Vietnam War, Pritzker Military Museum, Chicago, USA.[40]

2017 - The Vietnam War: 1945-1975, New York Historical Society, USA.[41]

2017 - Fractured, Penang, Malaysia.[42]

2018 - Resistance and Painting, Ho Chi Minh City Fine Arts Museum, Ho Chi Minh City, Vietnam.

2021 - RESIST! The Art of Resistance, Rautenstrauch-Joest Museum, Köln, Germany.[43]

Featured Media[edit]

A photograph taken by Lê Minh Trường in 1969 was shown in Ken Burns' PBS series on Vietnam, The Vietnam War, which aired in 2017.[44]

Loans to Museums and Galleries[edit]

Witness Collection is planning to tour the collection, alongside a documentary film[45] and a series of books on different facets of Vietnamese art before finally finding a permanent home for the collection.

Previous loans include:

  • Phan Kế An (Ho Chi Minh at Work in the Viet Bac, charcoal on paper, 1948), (Hanoi Christmas Bombing of 1972, lacquer on board, 1985), Realism in Asian Art, 2010, The National Gallery Singapore and The National Museum of Contemporary Art, Seoul, South Korea.[35]
  • Vỡ Xương (Rejoice on the Day of Liberation of our Homeland, watercolour on paper, 1974), (Paying the Party Fee for the Last Time, powder paint on cardboard, 1974), Realism in Asian Art, 2010, The National Gallery Singapore and The National Museum of Contemporary Art, Seoul, South Korea.[35]
  • Trịnh Kim Vinh (Husking and Polishing Rice to Support the Soldiers at the Front, watercolour on silk, c. 1965), Realism in Asian Art, 2010, The National Gallery Singapore and The National Museum of Contemporary Art, Seoul, South Korea.[35]
  • Nguyen Van Binh (Vietnam Building a Railway, lacquer on board), Realism in Asian Art, 2010, The National Gallery Singapore and The National Museum of Contemporary Art, Seoul, South Korea.[35]
  • Trần Hoàng Sơn (Cultural Activities of Wounded Soldiers, watercolour on paper, 1969), (Mr Boi: The Militiaman Holding the Territory at Phuoc Lanh in Quang Nam Province, watercolour on paper, 1973) Realism in Asian Art, 2010, The National Gallery Singapore and The National Museum of Contemporary Art, Seoul, South Korea.[35]
  • Nguyễn Đức Thọ (Tet in Truong Son, watercolour on paper, 1972), (Awaiting Enemy Troops, Xe-pon, tempera on paper, 1971), (New Home, Quang Tri, watercolour on paper, 1972), Between Declarations and Dreams: Art of Southeast Asia Since the 19th Century, 2015, National Gallery Singapore.[38]
  • Nguyễn Thanh Châu (Observing, watercolour on paper, 1972), (Towards Saigon, April 1975, watercolour and pastel on paper, 1975), (Let's Go, watercolour on paper, 1972), (Militia Woman, Sam Son, watercolour on paper, 1967), (Crossing Sac Forest, gouache on paper, 1971), Between Declarations and Dreams: Art of Southeast Asia Since the 19th Century, 2015, National Gallery Singapore.[38]
  • Trương Hiểu (Charging Soldier, ink on paper, 1972), (Crossing a Monkey Bridge, ink on paper, 1972), (Night March, watercolour with gouache on paper, 1972), (Hiding from the Helicopters, Cu Chi, 1970), (Trung Khanh, Writer, ink on paper, 1969), Between Declarations and Dreams: Art of Southeast Asia Since the 19th Century, 2015, National Gallery Singapore.[38]
  • Thái Hà (U Minh Forest, Ca Mau, ink and watercolour on paper, 1966), (U Minh Forest), ink and wash on handmade paper, 1969), (Ca Mau, ink and wash on handmade paper, 1969), (Duong Thi Cam, Guerrilla Fighter, Ca Mau), ink and wash on handmade paper, 1970), Between Declarations and Dreams: Art of Southeast Asia Since the 19th Century, 2015, National Gallery Singapore.[38]
  • Huỳnh Văn Thuận, Anti-French Cartoon (1950), RESIST! The Art of Resistance, 2021, Rautenstrauch-Joest Museum, Köln, Germany.[43]

References[edit]

  1. ^ Hughes, Sophie. "Witness Collection". Sophie's Art Tour.
  2. ^ a b "Witness To A Collection". National University of Singapore. 12 January 2017.
  3. ^ a b c Ng, Elaine W (May–June 2014). "Documenting Vietnam". Art Asia Pacific.
  4. ^ "Victor Tardieu (1870-1937)". French Embassy. Archived from the original on 2006-10-03.
  5. ^ Taylor, Nora A. (2009). Painters in Hanoi: an ethnography of Vietnamese art. UK: NUS Press. p. 31. ISBN 978-9971694531.
  6. ^ "Bui Xuan Phai: Famous painter with the brand "Pho Phai"". Designs.vn. 31 May 2018.
  7. ^ "Artist Nguyen Van Ty". Vietnam Arts.
  8. ^ Binh, Duong (3 January 2014). "Famous paintings recognized as national treasure". VX Art News.
  9. ^ "Tạ Tỵ: Biography – Works – Self-Portrait". Hoc Xa. Retrieved 26 June 2019.
  10. ^ "Vietnam Magazine". Vietnam Council on Foreign Relations - 1974. 7: 24.
  11. ^ "The Geneva Accords". Britannica.
  12. ^ Buchanan-Spurgin, Sherry (2008). Mekong Diaries: Viet Cong Drawings and Stories, 1964-1975. Chicago: University of Chicago Press. ISBN 978-0226078304.
  13. ^ "Nguyễn Thanh Minh Biography". Vietnam: The Art of War. 23 November 1936.
  14. ^ "Vỡ Xương Biography". Vietnam: The Art of War. 8 December 1942.
  15. ^ "Lê Minh Trường Biography". Vietnam: The Art of War. 11 August 1930.
  16. ^ "Witness Collection". Lonely Planet.
  17. ^ Min, Ho (9 October 2015). "5 artists to know from the Vietnamese Young Artists Association". Art Radar Journal.
  18. ^ "Painter looks back on a life of revolution". Viet Nam News. 22 January 2009.
  19. ^ "1951-1953: The Campaigns for the Red River Delta and Hòa Bình". Vietnam: The Art of War. March 1951.
  20. ^ "The Art of War". Southeast Asia Globe. 7 February 2020.
  21. ^ "Vietnam war art collected over 30 years paints a very different picture of communist fighters". South China Morning Post.
  22. ^ "Conservation Resources". Asiarta Foundation.
  23. ^ Osmond, Gillian; Ebert, Bettina; Drennan, John (2014). "Zinc oxide-centred deterioration in 20th century Vietnamese paintings by Nguyen Trong Kiem (1933-1991)". AICCM Bulletin. doi:10.1179/bac.2014.34.1.002 – via ResearchGate.
  24. ^ Ebert August 2012, UK., Bettina; Singer, Brian; Grimaldi, Nicky (August 2012). "The Use of Aquazol in the Conservation Treatment of Vietnamese Paintings". Journal of the Institute of Conservation – via ResearchGate.{{cite journal}}: CS1 maint: numeric names: authors list (link)
  25. ^ Ebert, Bettina; MacMillan Armstrong, Sally; Singer, Brian; Grimaldi, Nicky (September 2011). "Analysis and Conservation Treatment of Vietnamese Paintings". ICOM-CC 16th Triennial Conference – via ICOM-CC.
  26. ^ Singer, Brian; MacMillan, Sally; Grimaldi, Nicky; Brown, Jean (2009). Analysis of Vietnamese oil paintings affected by sulphur dioxide pollution. Singapore: Singapore Art Museum. pp. 68–74. ISBN 9789810831592. {{cite book}}: |work= ignored (help)
  27. ^ Kolesnikov-Jessop, Sonia (22 March 2008). "A Rare Rescue Mission". Newsweek International.
  28. ^ Ebert, Bettina (2008). "Part I: A report on the condition and conservation treatment of two paintings on canvas (Portrait of the Artist's Wife and Portrait of a Student, 1963) by Vietnamese artist Nguyen Trong Kiem. Part II: A scientific investigation into the degradation processes of zinc-based paints, together with art historical research". Analysis and Conservation Treatment of Vietnamese Paintings – via Academia.
  29. ^ MacMillan, Sally (2007). "A report on the art historical investigation, condition, technical examination and initial investigations into the conservation treatment of two paintings on canvas by Vietnamese artist Nguyen Trong Kiem (1933-1991) dated 1963". Analysis and Conservation Treatment of Vietnamese Paintings – via Academia.
  30. ^ Thomas, C. David (1991). As Seen By Both Sides: American and Vietnamese Artists Look at the War. Boston, Massachusetts, USA: Indochina Arts Project and the William Joiner Foundation.
  31. ^ a b Harrison-Hall, Jessica (2002). Vietnam Behind the Lines: Images from the War 1965-1975. London, United Kingdom: The British Museum Press. ISBN 9781588860200.
  32. ^ Page, Tim (2002). Another Vietnam: Picture of the War from the Other Side. National Geographic. ISBN 9780792264651.
  33. ^ Persistent Vestiges. Drawings from the American-Vietnam War. The Drawing Center. 2005. ISBN 978-0942324235.
  34. ^ Il drago e la farfalla. Arte contemporanea in Vietnam. Catalogo della mostra. Rome, Italy: Gangemi. June 2006. ISBN 978-8849210156.
  35. ^ a b c d e f Realism in Asian Art, 2010, The National Art Gallery, Singapore & The National Gallery of Contemporary Art, Korea (2010). Realism in Asian Art. Singapore & Korea: The National Art Gallery, Singapore & The National Gallery of Contemporary Art, Korea. ISBN 978-89-6303-023-4.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  36. ^ Shimizu, Christine (2013). Du fleuve Rouge au Mékong: Visions du Viêt Nam. Paris, France: Musee Cernuschi. ISBN 978-2-7596-0201-8.
  37. ^ Vietnam 1954 –1975: War Drawings and Posters from Ambassador Dato' N. Parameswaran Collection (PDF). Singapore: National University of Singapore. 2015.
  38. ^ a b c d e Between Declarations and Dreams: Art of Southeast Asia Since the 19th Century. Singapore: Penn State University Press and National Gallery Singapore. 2015. ISBN 978-981-09-7349-0.
  39. ^ Who Wants to Remember a War; and Lines (PDF). Singapore: National University of Singapore. 2016.
  40. ^ "Hunting Charlie". Pritzker Military Museum and Library.
  41. ^ "The Vietnam War: 1945-1975". New-York Historical Society Museum and Library. October 4, 2017 – April 22, 2018.
  42. ^ Fractured, Beauty Inspired by Conflict, Until September 3rd 2017, 1 August 2017, Penang Free Sheet (https://penangfreesheet.my/fractured-beauty-inspired-by-conflict-until-september-3rd-2017/) (1 August 2017). "Fractured, Beauty Inspired by Conflict". Penang Free Sheet. {{cite web}}: External link in |last= (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  43. ^ a b "RESIST! The Art of Resistance". Rautenstrauch-Joest-Museum.
  44. ^ "Episode 10: The Weight of Memory". The Vietnam War: A Film By Ken Burns and Lynn Novick.
  45. ^ "Witness Collection Channel". YouTube.
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