- 247
NYEIN CHAN SU | Landscape 7
Estimate
20,000 - 30,000 HKD
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Description
- Nyein Chan Su
- Landscape 7
- signed
- Acrylic on canvas
- 91 by 122 cm; 35 3/4 by 48 in.
Condition
This work is in good overall condition as viewed. There is some dirt at areas of thick, white impasto, but this is easily removable through a light, professional cleaning. 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The Art of Burma
While the roots of Burmese painting can be traced back to 12th century Buddhist mural paintings of Pagan, the most significant shift in style took place after the fall of the Konbaung Dynasty, subsequent to the Third Anglo-Burmese War in 1885. Western influences started to penetrate the country’s artistic consciousness as Western-schooled artists like James Raeburn Middleton and Gerald Kelly were sent to Burma to produce landscapes and ethnographic portraits. Consequently an entire generation of Burmese painters such as M.T. Hla (1874-1946) and Saya Chone (1866-1917) studied Western painting philosophies and transformed the local visual idioms. The early 20th century brought about a larger shift in Burmese painting that was characterized by the emergence of two main schools –the Northern Mandalay and Southern Rangoon School. In the Irrawaddy Delta, south of Myanmar, the Burma Art Club was established and soon played a pivotal role in the development of the Rangoon style. A prominent artist who emerged from the school was U Ba Nyan (1897-1945) who was famed for his opaque watercolor paintings and oils, with a distinct focus on chiaroscuro. He served as a teacher for many other notable modernist artists. This included U Ngwe Gaing (1901-67) who is widely recognized as Burma’s leading artist during the post-World War II period and U San Win (1905-81) who was considered the first Burmese painter to embrace Impressionism.
A number of artists also started to resist the influence of U Ba Nyan’s dominant aesthetic. U Ba Kyi (1912-200) eventually diverged from the typical Rangoon aesthetic and instead embraced more animated forms of representation. In the North, a group of modern artists known collectively as the Mandalay School started to gain prominence in what was once the capital of Burma. Artists like U Ba Zaw (1891-1941) and Saya Saung (1898-1952), and more traditional painters, such as U Ba Thet (1903-72) and U Saw Maung (1900-69) formed a movement that incorporated Chinese aesthetic styles in their works.
A concessionary measure in 1988 opened Burma’s economy and soon allowed tourists and entrepreneurs to engage with the Burmese art market. Artists such as Min Wae Aung’s (b. 1960) and U Lun Gywe (b. 1930) became especially popular, known for their quotidian subject matters and charming compositions. Following these senior artists are a wave of younger voices who are developing fresh idioms and strong individual styles.
While the roots of Burmese painting can be traced back to 12th century Buddhist mural paintings of Pagan, the most significant shift in style took place after the fall of the Konbaung Dynasty, subsequent to the Third Anglo-Burmese War in 1885. Western influences started to penetrate the country’s artistic consciousness as Western-schooled artists like James Raeburn Middleton and Gerald Kelly were sent to Burma to produce landscapes and ethnographic portraits. Consequently an entire generation of Burmese painters such as M.T. Hla (1874-1946) and Saya Chone (1866-1917) studied Western painting philosophies and transformed the local visual idioms. The early 20th century brought about a larger shift in Burmese painting that was characterized by the emergence of two main schools –the Northern Mandalay and Southern Rangoon School. In the Irrawaddy Delta, south of Myanmar, the Burma Art Club was established and soon played a pivotal role in the development of the Rangoon style. A prominent artist who emerged from the school was U Ba Nyan (1897-1945) who was famed for his opaque watercolor paintings and oils, with a distinct focus on chiaroscuro. He served as a teacher for many other notable modernist artists. This included U Ngwe Gaing (1901-67) who is widely recognized as Burma’s leading artist during the post-World War II period and U San Win (1905-81) who was considered the first Burmese painter to embrace Impressionism.
A number of artists also started to resist the influence of U Ba Nyan’s dominant aesthetic. U Ba Kyi (1912-200) eventually diverged from the typical Rangoon aesthetic and instead embraced more animated forms of representation. In the North, a group of modern artists known collectively as the Mandalay School started to gain prominence in what was once the capital of Burma. Artists like U Ba Zaw (1891-1941) and Saya Saung (1898-1952), and more traditional painters, such as U Ba Thet (1903-72) and U Saw Maung (1900-69) formed a movement that incorporated Chinese aesthetic styles in their works.
A concessionary measure in 1988 opened Burma’s economy and soon allowed tourists and entrepreneurs to engage with the Burmese art market. Artists such as Min Wae Aung’s (b. 1960) and U Lun Gywe (b. 1930) became especially popular, known for their quotidian subject matters and charming compositions. Following these senior artists are a wave of younger voices who are developing fresh idioms and strong individual styles.