Le Thiet Cuong - Mỹ Thuật Việt Nam

Tiểu sử nghệ sĩ

Bộ sưu tập tác phẩm

Game of Dragon Snake

Watching Lotus

Flower Sermon

Spare Bowls

The Remaining Eye

Self-searching

Set Free

Asking For Guidance

The Changing Eye

Love

Spring Street

Hanoi Old Quarter

Raising Buffalo

Rope Skipping

Goodness from the Heart

Happy Christmas

Changing Eyes

Winter

Searching

Old Street

Friends

Spring Festival

Portrait

Autumn

Triển lãm tiêu biểu

Le Thiet Cuong (1962-2025) attended the Vietnam State Film School in Hanoi where he studied set design and animation, following in the profession of his parents. His early artistic talents were noted from an early age when he was evacuated to the country during the American war. He spent his days drawing and became a cartographer during his army service in the early 80´s.
Le Thiet Cuong‘s trademark gouache on cheesecloth and paper paintings have now become iconic of their time. His style is minimalist and is inspired by Buddhist teachings and Eastern philosophies, which is apparent in his often simple compositions. However, he never loses sight of the importance of the depiction of village and country life in his paintings motivated by his early childhood experiences. Objects and food from everyday life such as rice, grains, rice bowls, and chopsticks are important motifs in his works. “Rice culture is food for the spirit”, Cuong has commented. His paintings are often stark in their simplicity yet rich and diverse in their meaning and interpretation and hold a serene power in our ever-changing cluttered world.
Le Thiet Cuong was born in 1962 in Hanoi. He is the son of the writer – the poet Le Nguyen, and his mother is the famous filmmaker Do Phuong Thao. His solo exhibitions are held in Hong Kong, Singapore, Thailand, the United States, Korea, and many other countries. Le Thiet Cuong’s paintings are included in the collection of the National Museum Singapore, Deutsche Bank AG – Hanoi, ABN Amro Bank – Singapore. He passed away in July 2025 at his Gallery and residence in Hanoi.
TIME Magazine, November, 2007
NY Art Magazine, February 2006
L’Humatite Magazine, September 2005
Sotheby’s Singapore Catalogue, December 2003
The Bangkok Post, October 2000 and October 2002
Christies’ Singapore Catalogue, March 1999
Elle, October 1997
“Platform”: 1-70 young modern Artists from Asia and Latin America: 1997
“Asian Art News”: November-December 1997
The Singapore Straits Time, October 1997
Tableau, Fine Arts Magazine Holland, September 1997
The Art Magazine “Tate”: Spring 1997
TIME Magazine, August 1996
The South China Morning Post, May 1995
Vogue, April 1995
2022: “The Tale of Kieu”, Thang Long Gallery, 41 Hang Gai, Hanoi.
2015: Seeking, Gallery 39, Hanoi
2014: Mosaic, included 20 ceramic/ lacquered paintings, Gallery39, Hanoi and Ly club, Sai Gon
2013: “13”, included 13 panorama paintings, Gallery39, Hà Noi.
2010: Oneself, Gallery 39, Ha Noi, Vietnam
2009: Peaceful, Shingendo Gallery, Tokyo, Japan.
2008: Lan’s Story, Thanh Binh Gallery, Hanoi, Vietnam
2007: Tree exhibition, Gallery 39A, Hanoi, Viet Nam.
Like a Nil, Korean Cultural Center, Hanoi, Viet nam
2006: Manuscript, Gallery39, Ha Noi, Viet Nam
2005: Grains of rice, Gallery Dragon, Ha Noi, Viet Nam
2004: Inspiration from Basho’s Poem, Shingendo Gallery, Tokyo, Japan.

Trừu tượng phương Tây dưới góc nhìn của họa sĩ Việt

Chủ nghĩa trừu tượng sinh ra ở phương Tây với những cái tên như Kandinsky, Pollock, nhưng khi du nhập vào Việt Nam, nó đã mang một diện mạo hoàn toàn khác. Các họa sĩ Việt không vẽ trừu tượng như một cuộc chơi hình khối hay giải phẫu cảm xúc cá nhân thuần túy, mà thường gửi gắm vào đó những hoài niệm về làng quê, về thiên nhiên, về nỗi niềm phương Đông. Kết quả là những bức tranh hiện đại đầy chất thơ và triết lý, vừa lạ vừa quen. Nguyễn Tư Nghiêm, Trịnh Cung, Đặng Xuân Hòa là những cái tên tiêu biểu cho sự chuyển hóa này. Để chiêm ngưỡng những tác phẩm trừu tượng đương đại, bạn có thể xem ngay bộ sưu tập tại đây.