U San Win

This work is in good overall condition as viewed. There is evidence of light wear and loss along the edges of the work due to abrasions with the previous frame which has been replaced. There are thin lines of media accretions along the edges of the work and light craquelure on areas of thicker impasto, but this is consistent with age and visible only under close inspection. Examination under ultraviolet light reveals a very small patch of retouching on the left building, but this is only visible under ultraviolet light. Framed.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

U San Win plays a significant role in Burmese art history as the first Myanmarese painter to embrace impressionism among the members of the early Rangoon School. Educated first under Martin Ward, the president of the Burma Art Club, San Win was later granted government sponsorship to study art at Goldsmiths College in London and Columbia University in America. He eventually returned to Myanmar in the mid-1950s, where he became the deputy minister of art education and was awarded the Wunna Kyaw Htin, the highest civil service honour in the land.

Bagan presents an alluring vision of the ancient city of Bagan in Mandalay, once the seat of the mighty Pagan Empire. The painting’s inclusion of historical monuments like the splendid white-and-gold Thatbyinnyu Temple and the twin stupas of Shwegugyi Temple—both built in the 12^th century-- pays tribute to Myanmar’s rich history. The painting exemplifies San Win’s particular brand of Burmese impressionism characterised by subtle brushwork hinting at the blurring of outlines and features. San Win also utilises his signature palette of rust reds and honeyed browns mixed with earthy tones of brown and green, which contrast brilliantly against the bright skies and vibrant pink, yellow, and blue of the crowd’s longyis. Visually pleasing in its elegant composition, this work highlights San Win’s ability to play off architectural forms against human figures as well as his formidable skill in lighting and shade.