Project Description

Framed lithograph on paper

Dimensions : 75,5 cm x 54 cm

Signed lower right and numbered 155/275 at the bottom left

Série Circus III

Laebdng (1921-2015)

Le Ba Dang (pear, his name, Spread, his name and insert djang, his first name), his artist name Laebdng, born the 27 June 1921 à La Bich Dong (district de Trieu Phong, Quang Tri province de, near Hue, former imperial capital of Vietnam), and dead the 7 mars 2015 in Paris, is a painter, engraver and sculptor naturalized French in Vietnam 1980.

He spent most of his life in France, with a few visits to the United States and Japan.

His work includes, after his studies at the School of Fine Arts in Toulouse (from 1942 at 1948), his first drawings, paintings, lithographs and etchings with fairly classic themes that followed, from 1955, achievements recognized by art critics. The Cincinnati Art Museum dedicates his first solo exhibition in the United States 1966. He realises, in 1985, his first spaces, paper works that combine several techniques by bonding and superimposing, between reliefs and sculptures, as a synthesis and exceeding these two forms of expression.

France

paid homage to him by making him a knight of the Order of Arts and Letters in 1994. Various awards were presented in the US it, England and Vietnam. He was commissioned to carry out Jacques Ruffié academician sword. He created the sets and costumes for opera My Chau – Trong Thuy at the Paris Opera, in 1977, edited several lithographs porfolio, dont eight horses in 1964, son premier portfolio and relief, without color or ink, on poems and calligraphy Chou Ling, designed sculptures for Daum glass and achieved great Space in the quarries of the "Cathédrale d'Images" Baux-de-Provence 1997.

Au Vietnam

the city of Hue and the authorities of the province of Thua Thien-Hue inaugurated, in the presence of the artist 2006, Foundation Art Lebadang to Hue that permanently preserves and exhibits more 400 works by the artist reflecting more 70 years of creation.

His works are present in many private collections, including the US, Japan and France.

In 2015, the Cernuschi Museum

received a large donation from Ms. Myshu Nguyễn - Lê Bá Đảng, in memory of her husband, French artist of Vietnamese origin Lebadang. Remained discreet in France where he has yet lived from the age of eighteen, his works have been widely disseminated in the United States, in Japan, Germany and Vietnam. His country with which it has retained a strong cultural and emotional connection despite the distance, Hue has devoted to a monographic museum opened in 2006.

Artist talkative and curious,

insatiable explorer of materials and techniques, Lebadang liked to consider himself an "artisan of art" rather than as an artist. He left a work in which watercolors will meet, estampes, serigraphs, paintings, clay modeling, metal son sculptures, and distant, polished stainless steel or wood, jewelry, ceramics, tapestries.

At the border between sculpture and painting, its most original works are made of thick cloth paper, tore and stuck on the bottom. These spaces in very high relief evoke a perfectly ground and poetry view of the sky. Noting all the technical challenges, it will implement this theme in the field of printmaking and manages to develop highly refined multiple : cutting shapes manually assembled, hot embossing, gravure, lithographed color are all steps in their realization.

The twenty works presented at the Cernuschi museum illustrate the successive research and the various stylistic stages Lebadang. Tempted by the abstraction during the years 1960, it leaves emerge shapes and textures that are believed to recognize fleetingly. For him, l’abstraction, the play of textures and light holes funds evokes the original whole of Taoist philosophy.

During the Vietnam War,

Lebadang expressed tearing by means of a series entitled canvases Indomitable landscapes. A chaotic nature, black cliffs and steep, aggressive bubbling, hostile splash, is pierced with a red line. The only note of color, violent tenuous hope but sharp, it evokes the Ho Chi Minh track, roads secret for refueling Communist troops. A watercolor of the same year takes the theme of war in a style which is flush with the memory of classical Chinese landscapes. The blaze burned trees, threatening humble huts, last vestige of humanity hunted, trapped among bright explosions of a rugged landscape. It recognizes the special work of auras of light and sinuous curves that the artist will continue the following periods, in the human Comedy and the spaces.

Between 1978 and 1979,

Welcome in the workshops of the American Circle Fine Art galleries, Lebadang produced a series of serigraphs where he seeks depth, a sumptuous color harmony through the vibration and overlay of colors rather than their accumulation.

The year 1980

a milestone in the work of Lebadang : his son died that year. For the first time, Lebadang works for himself, is released from trendy styles and control works. At the age of maturity, he reintroduced the human figure in his series he calls the human Comedy, in honor of Balzac : Lebadang feels inspired by the sensitivity of the author penalties, the joys, the destinies of the human condition. Here he touches on universal of his last works, transcending cultural influences. It is also developing its seal consisting of a square housing a family : a child with both parents. This idea of ​​the human in a frame is taken up and extended in the following concept, that of spaces, developed from 1985.

As an architect of the paper, it model cellulose as the surface of an imaginary earth position overlooking, with its valleys and mountains. The demiurge artist gives to see an uncluttered landscape, spiritual, rebuilt from the intuition of a primordial nature, invisible but present. A Taoist echo resounds in this quest proposed spectator, asked to wear his gaze beyond the finitude of the work.

Towards 2001,

Laebdng, then aged 80 ans, enters its final period when he offers a peaceful synthesis of several themes that have occupied all his life. On a unified falsely and monochrome background, he asks vibrant brushstrokes suggesting an impalpable material, both dense, light and moving, that appears to contain the potential emergence of a form. A calm and introverted face of Buddha emerges. Of divinity remains only the fullness of a face to the presence astral. The light seems to spring from beneath the painted surface, ultimate intuition of the artist of a spiritual afterlife.”

Fort Anne, conservative in Retiro

Another lithograph by the artist