20th - 21st centuries · exclusively in oil
Painting vietnamese
One hundred essential works to span a century of invention: the Indochina School of Fine Arts, the war years, the revival of Dổi Moi and contemporary plurality.
A story of translations
The oil adopted, moved, reinvented
Modern Vietnamese painting does not begin with a clear break with the past. When the Indochina School of Fine Arts opened in Hanoi in 1925, learning about oil, perspective and the living model met people sensibilities already shaped by literate painting, decorative arts and attention to the rhythm of the line. Under the leadership of Victor Tardieu and Nguyễn Vạn Thọ, known as Nam Sơn, students do not simply copy vocabulary european: they adjust it to the faces, interiors, streets and landscapes of Vietnam.
Tô Ngọc Vân gives the figure a luminous softness and silent architecture. Lê Phổ brings together linear elegance, bouquet and portrait. Bùi Xuân Phaïi condenses the ancient streets of Hanoi into fragile, almost fragile facades human. During the decades of conflict, painting also becomes testimony: it follows movements, work, soldiers and reconstruction. After 1975, then with the Dổi Moi engaged in 1986, the space of the individual expanded by new. The body, the house, family memory and the changing city come back to the fore.
This selection assumes a strict limit in order to remain reliable: it brings together one hundred original oil paintings, all different. Lacquer, although crucial in the history of Vietnamese art, silk painting, ink, gouache, watercolor, pastel, drawing, printmaking, photography and exhibition views are deliberately excluded. It is therefore not a summary of all Vietnamese arts, but a precise history of oil and its metamorphoses.
In Vietnam, oil has never been a simple technical loan: it has become a place of negotiation between modernity, memory and daily experience.
Portrait, motherhood, solitude and family life give the body an intimate presence, far from the anecdote.
Streets, facades and cafes transform the capital into a sensitive archive of the changes of the century.
Rice fields, mountains, rivers and villages connect landscape, work and sense of belonging.
Flat areas, transparencies, impasto and erasure reveal the diversity of Vietnamese uses of oil.
The 100 essential Vietnamese paintings
Editorial ranking1 -20
Modern foundations and masterpieces
To Ngọc Van
Two young women and a child
Hai thiếu nữ và em bé
Two young women absorbed in their silence frame a child sitting in the foreground. Tô Ngọc Vân combines the construction learned at the Indochina School of Fine Arts with soft light, without reducing his models to elegance decorative. The balance of looks and fabrics makes it one of the founding images of modern Vietnamese painting. The tight framing gives the pattern an almost tactile presence.
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Bui Xuan Phai
Hanoi Street (pharmacy)
Hanoi Street (Medicine Shop)
Bùi Xuân Phaïi narrows Hanoi's old street into an architecture of sloping facades, signs and thick shadows. The material seems worn like the walls it represents; blacks structure a fragile, familiar and city stubbornly alive. This vision has become inseparable from the pictorial memory of the capital. Light does not only describe the scene: it organizes its inner tension.
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The Pho
Young girl in white
Painted at the start of Lê Phổ's career, the young woman stands out with almost sculptural restraint. The pose, the shine of the garment and the construction of the face show how the painter adapts academic oil to a sensitivity vietnamese. The work precedes the floral and luminous figures that made it famous in France. Chromatic chords circulate the gaze between depth and surface.
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Do Quang Em
Portrait of my wife
Portrait of My Wife
Dỗ Quang Em installs his model in a precise light which nevertheless seeks neither photographic effect nor flattery. The face, hands and silence of the background give the portrait an interior duration. Mastery of chiaroscuro here renews a classic genre at the heart of post-war Vietnamese realism. The touch maintains a fruitful balance between observation and memory.
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Nguyen Trung
Untitled (the tea seller)
Not titled (Tea vendor)
Painted on a bag of rice, the tea seller transforms the shortage of materials into plastic force. Nguyễn Trung simplifies the body, accessories and space without erasing the social presence of the model. The texture of the support remains visible and inscribed daily life in the very material of the painting. The silhouettes impose their rhythm without fully delivering their story.
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Nguyễn Lam
Cuối Cùng (The End)
Cuối Cùng (The End)
A tense figure and an almost closed space give this painting by Nguyễn Lâm a rare existential intensity. The artist breaks with the heroic narrative to make the surface a place of anguish, color and condensation. This work from 1965 announces the personal paths followed by modernity in the South. The pictorial material gives familiar forms a new density.
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Do Son
Mother's heart
Heart of Mother
Facing a wall of portraits, a mother silently measures the human cost of war. Dỗ Sơn contrasts the heaviness of mourning with light colors and the presence of a child, a sign of possible continuity. The composition transforms the family memory in collective history without sacrificing individual emotion. The relationship between figure and space transforms the scene into a mental experience.
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Tran Luong
Underwater
Underwater
Trần Lương immerses the eye in a world of floating shapes, eyes and unstable creatures. The memory of the ponds of his childhood during the war becomes a pictorial space where observation, fear and imagination merge. Oil maintains the fluidity of the pattern while giving the painting an almost mental depth. The restraint of the composition reveals a lasting emotion.
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Dang Xuan Hoa
The Boy's Evening
The Boy's Evening
A boy works under a small light source while domestic objects squeeze into a blue interior. Dặng Xuân Hocha organizes the scene by silhouettes, angles and reflections, without losing the fragility of the moment. The daily becomes a theater of memory, characteristic of the pictorial revival of Hanoi. Contrasts construct an image that is both local and open to the world.
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Ha Tri Hieu
Afternoon in the countryside
Afternoon in Countryside
Hà Trí Hiếu brings together rural figures, beasts and architecture in a range of lands, yellows and greens. The deliberately simplified shapes give the memory a clarity of emblem without freezing it. This countryside has since been rebuilt memory reveals the decisive place of nostalgia in the painting of Dổi Moi. The economy of means reinforces the evocative power of the painting.
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Tran Trong Vu
Rainwater, even salty, is not silent
Rainwater Even Though Salty is not Speechless
In "Rainwater, even salty, is not silent", Tran Trong Vu focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic range and touche organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost presence tactile.
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The Quang Ha
The Dictator
The Dictator
In "The Dictator", Le Quang Ha focuses his work on the tension between historical narrative, collective memory and individual experience. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes its inner tension.
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Ha Manh Thang
A half-life 2
Half a Life 2
In "A Half-Life 2", Ha Manh Thang focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Do Minh Tam
Bản Nhạc Dỏ (The Red Song)
Ban Nhac Do (The Red Song)
In "Bản Nhạc Dỏ (The Red Song)", Do Minh Tam focuses his work on the tension between historical narrative, collective memory and individual experience. The painting avoids literal illustration: framing, chromatic scale and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Bui Xuan Phai
Young Girl in Hat
Girl with a Hat
In "Young Girl in the Hat", Bui Xuan Phai focuses his work on posture, gaze and the body's relationship to space. The painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Dang Xuan Hoa
Human Objects No. 12
Human Objects No.12
In "Human Objects No. 12", Dang Xuan Hoa focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar forms a new density.
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Nguyen Quan
Self-portrait in the moonlight
Self Portrait under the Moonlight
In "Self-portrait in the Moonlight", Nguyen Quan focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The relationship between figure and space transforms the scene into a mental experience.
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Nguyen Xuan Tiep
The Buffalo Guardians
Buffalo Boys
In "The Buffalo Guardians", Nguyen Xuan Tiep focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Tran Luu Hau
Landscape
Landscape
In "Landscape", Tran Luu Hau focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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Nguyen Phuoc
Three women
Three Women
In "Three Women", Nguyen Phuoc focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces the evocative power of the painting.
See the work at the museum →21 -40
War, memory and realism
Bui Suoi Hoa
Musician and lotus
Musician and Lotus
In "Musician and Lotus", Bui Suoi Hoa focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost tactile presence.
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Do Son
July rains
July Rains
In "July Rains", Do Son focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes its inner tension.
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Tran Trong Vu
Cockfight
Cockfight
In "Cockfight", Tran Trong Vu focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Dang Xuan Hoa
Back
Return
In "Return", Dang Xuan Hoa focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Nguyen Quan
Road to Tây Bắc
Road to Tay Bac
In "Route to Tây Bắc", Nguyen Quan focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Bui Suoi Hoa
Houses by the river
Houses on the Riverside
In "Houses by the River", Bui Suoi Hoa focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and organizing touch an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar forms a new density.
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Tran Luong
Underwater
Underwater
Trần Lương immerses the eye in a world of floating shapes, eyes and unstable creatures. The memory of the ponds of his childhood during the war becomes a pictorial space where observation, fear and imagination merge. Oil maintains the fluidity of the motif while giving the painting an almost mental depth. The relationship between figure and space transforms the scene into a mental experience.
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Nguyen Xuan Tiep
The return
The Return
In "The Return", Nguyen Xuan Tiep focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Vo Xuong
Heroic mother - three departures of her children
Hero Mother - Three Times Seeing her children off
In "Heroic Mother - Three Departures of Her Children", Vo Xuong focuses her work on posture, gaze and the body's relationship to space. The painting avoids literal illustration: framing, chromatic scale and organizing touch an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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Vo Xuong
Uncle Ho VIsiting the Battlefied in Hoa Binh
In "Uncle Ho VIsiting the Battlefied in Hoa Binh", Vo Xuong focuses his work on the tension between historical narrative, collective memory and individual experience. Painting avoids literal illustration: framing, scale chromatic and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces power evocative of the painting.
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Vo Xuong
Battlefield in Phuoc Long
In "Battlefield in Phuoc Long", Vo Xuong focuses his work on the tension between historical narrative, collective memory and individual experience. The painting avoids literal illustration: framing, chromatic scale and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost tactile presence.
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Vo Xuong
The War at the Border of Southeast
In "The War at the Border of Southeast", Vo Xuong focuses his work on the tension between historical narrative, collective memory and individual experience. The painting avoids literal illustration: framing, chromatic scale and touche organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes it inner tension.
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Seen Dung
Memory
Memory
In "Memory", Vu Dung focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Seen Dung
Wife and husband
Wife and Husband
In "Wife and Husband", Vu Dung focuses his work on posture, gaze and the body's relationship to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Bui Suoi Hoa
Father and daughter
Father and Daughter
In "Father and Daughter", Bui Suoi Hoa focuses his work on posture, gaze and the body's relationship to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Do Son
Yellow harmony
Yellow Harmony
In "Yellow Harmony", Do Son focuses his work on the autonomy of color, rhythm and material. Painting avoids literal illustration: framing, chromatic scale and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar forms a new density.
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Ha Tri Hieu
Young Girls of the Country
Country Girls
In "Young Girls of the Country", Ha Tri Hieu focuses her work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The relationship between figure and space transforms the scene into a mental experience.
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Ha Tri Hieu
Singers of the day
Day Singers
In "Singers of the Day", Ha Tri Hieu focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Ha Tri Hieu
Night singers
Night Singers
In "Singers of the Night", Ha Tri Hieu focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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Ha Tri Hieu
Night
Night
In "Nuit", Ha Tri Hieu focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces the evocative power of the painting.
See the work at the museum →41 -60
Dổi Moi: the return of the individual
Ha Tri Hieu
Young Peasant with a red cow
Countryside Girl with Red Cow
In "Young Peasant Girl with the Red Cow", Ha Tri Hieu focuses her work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost tactile presence.
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Ha Tri Hieu
Self-Portrait V
In "Self-Portrait V", Ha Tri Hieu focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes its inner tension.
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Ha Tri Hieu
Self Portrait II
In "Self Portrait II", Ha Tri Hieu focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Ha Tri Hieu
Self Portrait III
In "Self Portrait III", Ha Tri Hieu focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Ha Tri Hieu
Self-Portrait I
In "Self-Portrait I", Ha Tri Hieu focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Ha Tri Hieu
Self Portrait IV (Man with cows)
In "Self Portrait IV (Man with cows)", Ha Tri Hieu focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar shapes a new density.
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Nguyen Quan
Human face I
Human Face I
In "Human Face I", Nguyen Quan focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The relationship between figure and space transforms the scene into a mental experience.
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Tran Van Thao
Untitled
In "Untitled", Tran Van Thao focuses his work on the autonomy of color, rhythm and material. Painting avoids literal illustration: framing, chromatic scale and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Dang Xuan Hoa
Childhood on the street
Childhood on the Street
In "Childhood on the Street", Dang Xuan Hoa focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic scale and organizing touch an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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An Dang
Pomegranate Season
Pomegranate Season
In "The Season of Pomegranates", An Dang focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces the evocative power of the painting.
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Dang Dinh Ngo
Morning mist by the lake
Early Morning Mist by the Lake
In "Morning Mist by the Lake", Dang Dinh Ngo focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost tactile presence.
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Dang Vu Ha
Light in the garden
Sunlight in the Garden
In "Light in the Garden", Dang Vu Ha focuses his work on the passage of light through the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes its inner tension.
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Dao Anh Khanh
Nude 2
In "Nude 2", Dao Anh Khanh focuses his work on posture, gaze and the body's relationship to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Dau Quang Toan
Late afternoon
Late Afternoon
In "Late Afternoon", Dau Quang Toan focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Dinh Dong
White lotus 05
White Lotus 05
In "White Lotus 05", Dinh Dong focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Giap Van Tuan
Autumn Street VII
Autumn Street VII
In "Rue d'Automne VII", Giap Van Tuan focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic scale and organizing touch an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar forms a new density.
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Ha Huy Hiep
Fallen horse
Fallen Horse
In "Fallen Horse", Ha Huy Hiep focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The relationship between figure and space transforms the scene into a mental experience.
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Hoang A Sang
Native land
Homeland
In "Homeland", Hoang A Sang focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Khong Do Duy
Little Cat I
Kitty Kitty I
In "Little Cat I", Khong Do Duy focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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The Ba Quan
Purple Burst III
Crimson Gale III
In "Rafale pourpre III", La Ba Quan focuses his work on the autonomy of color, rhythm and material. Painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces the evocative power of the painting.
View work at gallery →61 -80
Cities, countryside and territories
Lam Duke Manh
Spring is coming
Spring Arrivals
In "Spring is Coming", Lam Duc Manh focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost tactile presence.
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Lam Xung
Burning flame VIII
Ardent Flame VIII
In "Fiery Flame VIII", Lam Xung focuses his work on the autonomy of color, rhythm and material. Painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes its inner tension.
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Mai Huy Dung
Portrait 09
In "Portrait 09", Mai Huy Dung focuses her work on posture, gaze and the relationship of the body to space. Painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Minh Chinh
Descending twilight
Ebbing Dusk
In "Descending Twilight", Minh Chinh focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Ngo Duke Hoang
Singers of Quan họ II
Quan Ho Singers II
In "Singers of Quan họ II", Ngo Duc Hoang focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Nguy Dinh Ha
Spring meeting
Spring Reunion
In "Spring Meeting", Nguy Dinh Ha focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar shapes a new density.
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Nguyen Dinh Duy Quyen
Perfumes and colors of spring
Spring's Scents & Hues
In "Perfumes and Colors of Spring", Nguyen Dinh Duy Quyen focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic range and touche organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The relationship between figure and space transforms the scene into mental experience.
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Nguyen Hong Giang
The Street of Spring
The Street of Spring
In "The Street of Spring", Nguyen Hong Giang focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic range and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Nguyen Phan Bach
Brilliant Street XI
Splendid Street XI
In "Rue brillante XI", Nguyen Phan Bach focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic scale and organizing touch an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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Pham Hoang Minh
Saigon's People Committee Office
In "Saigon's People Committee Office", Pham Hoang Minh focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, range chromatic and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces power evocative of the painting.
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Tran Nam
Rice scent
Rice Aroma
In "Perfume of Rice", Tran Nam focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost tactile presence.
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Tran Viet Thuc
Hidden in the bushes
Hide on Bush
In "Hidden in the Bushes", Tran Viet Thuc focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes it inner tension.
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Seen Manh Tan
The White Clouds embrace spring
White Clouds Embrace Spring
In "White Clouds Embrace Spring", Vu Manh Tan focuses his work on the passage of light through the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic range and touche organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Dang Dinh Ngo
Harvest season
Harvest Season
In "Harvest Season", Dang Dinh Ngo focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Dang Vu Ha
Winter sun
Winter Sunlight
In "Winter Sun", Dang Vu Ha focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Dao Anh Khanh
Nude 1
In "Nude 1", Dao Anh Khanh focuses his work on posture, gaze and the body's relationship to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar forms a new density.
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Dau Quang Toan
Street III
The Street III
In "Street III", Dau Quang Toan focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The relationship between figure and space transforms the scene into a mental experience.
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Dinh Dong
Summer color 10
Summer Color 10
In "Summer Color 10", Dinh Dong focuses his work on the autonomy of color, rhythm and material. Painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Giap Van Tuan
Autumn Street V
Autumn Street V
In "Rue d'Automne V", Giap Van Tuan focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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Ha Huy Hiep
Heavenly courier
Celestial Steed
In "Heavenly Courier", Ha Huy Hiep focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces the evocative power of the painting.
View work at gallery →81 -100
Contemporary pluralities
Hoang A Sang
Love
Love
In "Amour", Hoang A Sang focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost tactile presence.
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The Ba Quan
Purple Burst II
Crimson Gale II
In "Rafale pourpre II", La Ba Quan focuses his work on the autonomy of color, rhythm and material. Painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes its inner tension.
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Lam Duke Manh
Autumn sun on the street
Autumn Sunlight on Street
In "Autumn Sun in the Street", Lam Duc Manh focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic range and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Lam Xung
Burning flame VII
Ardent Flame VII
In "Flame of Fire VII", Lam Xung focuses his work on the autonomy of color, rhythm and material. Painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Mai Huy Dung
Portrait 16
In "Portrait 16", Mai Huy Dung focuses her work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Minh Chinh
Path of clouds
Path of Clouds
In "Path of Clouds", Minh Chinh focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar shapes a new density.
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Ngo Duke Hoang
Young Red Dao Girls IV
Red Dzao Girls IV
In "Young Red Dao Girls IV", Ngo Duc Hoang focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The relationship between figure and space transforms the scene into a mental experience.
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Nguyen Dinh Duy Quyen
Floating flowers
Floating Flowers
In "Floating Flowers", Nguyen Dinh Duy Quyen focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Nguyen Hong Giang
Spring Night
The Night of Spring
In "Spring Night", Nguyen Hong Giang focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and organizing touch an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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Nguyen Phan Bach
Brilliant Street
Splendid Street
In "Rue brilliance X", Nguyen Phan Bach focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic scale and organizing touch an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces the evocative power of the painting.
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Pham Hoang Minh
Vietnam National University
In "Vietnam National University", Pham Hoang Minh focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic range and touch organize an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The tight framing gives the pattern an almost tactile presence.
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Tran Nam
Flight of storks
Fluttering Storks
In "Stew of Storks", Tran Nam focuses his work on the balance of shapes, the density of color and the presence of pattern. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Light does not only describe the scene: it organizes its inner tension.
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Tran Viet Thuc
The Herd
The Herd
In "The Herd", Tran Viet Thuc focuses his work on the balance of shapes, the density of color and the presence of pattern. Painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Chromatic chords circulate the gaze between depth and surface.
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Seen Manh Tan
Green valley
Green Valley
In "Green Valley", Vu Manh Tan focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The touch maintains a fruitful balance between observation and memory.
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Dang Dinh Ngo
Song of the Golden Season
In "Song of the Golden Season", Dang Dinh Ngo focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and organizing touch an autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The silhouettes impose their rhythm without fully delivering their story.
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Dang Vu Ha
Morning Mist
In "Morning Mist", Dang Vu Ha focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The pictorial material gives familiar forms a new density.
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Dao Anh Khanh
Nude V
In "Nude V", Dao Anh Khanh focuses his work on posture, gaze and the relationship of the body to space. The painting avoids literal illustration: framing, chromatic scale and touch organize a visual experience autonomous. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The relationship between figure and space transforms the scene into a mental experience.
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Dau Quang Toan
The Street II
In "The Street II", Dau Quang Toan focuses his work on the construction of the city through facades, circulations and light. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The restraint of the composition reveals a lasting emotion.
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Giap Van Tuan
Autumn Street IV
In "Autumn Street IV", Giap Van Tuan focuses his work on the construction of the city through facades, circulation and light. The painting avoids literal illustration: framing, chromatic scale and touch organize one autonomous visual experience. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. Contrasts construct an image that is both local and open to the world.
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Ha Huy Hiep
Spring Returns
In "Spring Returns", Ha Huy Hiep focuses his work on the passage of light in the landscape and the memory of the territory. The painting avoids literal illustration: framing, chromatic scale and touch organize an experience autonomous visual. This oil precisely illuminates the diversity of Vietnamese modernity, between local memory and personal invention. The economy of means reinforces the evocative power of the painting.
View work at gallery →Historical landmarks
From Hanoi to an international scene
The Indochina School of Fine Arts structures modern education, but its artists quickly invent unique paths. The 1940s brought to light works where formal elegance rubbed shoulders with a more acute awareness of history. The Indochina War, the division of the country and then the American conflict brought artists and institutions into very different contexts in the North and the South.
After reunification, official cadres remained powerful, while the 1980s saw a growing need for personal expression. Dổi Moi accompanies the opening of workshops, galleries and international exchanges. In the in the following decades, Vietnamese painting refused uniformity: attentive realism, expressionism, abstraction, memorial landscape and symbolic figuration coexist.
The oil is rooted in an emerging Vietnamese modernity.
Painting accompanies revolution, displacement and resistance.
North and South develop distinct institutions and sensitivities.
Reconstruction, collective memory and realism dominate the landscape.
Privacy, city, abstraction and international circulation are multiplying.
Selection method
A controlled list, work by work
Oil only
Each sheet indicates an oil-painted support. Lacquer, silk, ink, drawing, gouache, watercolor, pastel, print and photography are excluded.
One hundred unique works
Titles, artists, dates and images have been duplicated. Broken images, artist portraits and simple documents have been discarded.
Consistent links
The Shopify reproduction is used for the artist who died before 1956. The other buttons open the public collection or gallery that presents the work.
Frequently asked questions
Read the corpus
Why no paint on lacquer?
Lacquerware is essential to modern Vietnamese art, but this edition follows a narrower rule: only oil paintings. It deserves an independent selection.
Why is the Indochina School of Fine Arts decisive?
Founded in Hanoi in 1925, it trains several pioneers and creates a place where European teachings and Vietnamese sensibilities can confront each other.
What does Dổi Moi change?
The opening initiated from 1986 promotes individual expression, the circulation of works, the appearance of new galleries and greater aesthetic diversity.
How is the ranking constructed?
The first places combine historical importance, pictorial quality and influence. The following chapters broaden the view to wars, territories and contemporary voices.
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