The problem of foreign art and the consumption of fine art products

[…] In this central institution, which is part school, part workshop, part institute of decorative arts, what place should be reserved for foreign art?

Photo: Quai Branly Museum

This question is often debated. Japanese teachers in vocational schools have been accused of Ha Noi has “Japanized” Annamese art! People also protested with the same tone against the danger of Annamese art following the study and imitation of Chinese art.

Has not every period of French renaissance been marked by a return to the study of Greek and Roman antiquity? Has the study of foreign masters ever been considered dangerous for our modern artists? The Annamites can learn the secrets of Chinese tradition; they can learn the lessons of the Japanese masters: have not our French painters been exploiting Japanese art for thirty years?

Such a school can give them a education great, that is research, observation and understanding of nature. It is from the study of nature combined with traditional research that a new art can be born in Indochina.

We have seen how capable the natives are of respecting tradition; their wisdom is no less practical and asserts itself whenever law and ritual allow it. Having just contemplated the large bronze Buddha statue in Hanoi, we immediately see in the shadow of the altar a cross-legged figure, dressed in a red cloak. We approach and realize that we are standing before a religious statue that is terrifyingly alive.

GSUGGESTIONS ON CONSUMPTION OF ART PRODUCTS

But there is another thing to be done, no less important than this school. It is useless to train many artists and to perfect the art if one does not take care to ensure the sale of the products. The target audience is the wealthy art lovers, who are willing to pay high prices; such customers are few among the French in the Far East, and rare among the international tourists who stop in Indochina: they must be sought in Europe, in Paris. It is not easy for the Annamese producer to approach this distant group of customers.

Some shops in the capital have connections with Hanoian merchants who only buy modern, cheap products for quick sale. What we need to do is to set up in a neighborhood popular with jewelry lovers and those who like exotic things, a modest display of a few selected Annamese art objects, and we will attract art lovers and critics by careful promotion, and then proceed to an exhibition of bronzes, embroidery, goldsmiths, and furniture. Similar “Annamite houses” could be organized in other capitals, if the above method is successful, or at least permanent exhibitions.

It seems that the government and the state have not paid attention to the initiative to establish such an organization. The administrative steps are not flexible enough to reduce the thousand and one requirements for this quasi-commercial enterprise. I think that the role of the Indochina Fine Arts Association, which is in regular contact with producers and is familiar with organizing art exhibitions, knows about prices, and most importantly, has the trust of local gallery owners who do not hesitate to give them their works to exhibit in the mother country; yes, this association should take the lead in selecting Annamese art products and undertake the training of amateur artists in Europe.

This does not mean that the existence of auction houses in Hanoi and Saigon or the cooperation of these enterprises in international exhibitions will end. They just need to join together into a federation, with financial support from the local budget, to take charge of the operation. (to be continued)