One often forgets the immediate context of a work of art. Certainly the context of its creation, of its "invention" by an artist, of its insertion in a "school" or a "flow", are often invoked or even developed. But, finally, perhaps in art the artist is of least importance because his destiny, sculpted by others, free or constrained, escapes him. Perhaps also, accordingly, is that the collection, this social link between the artist and his milieu, constitutes the most important evidence of art...

The collection which we are proud to present here illustrates a profoundly vietnamese style of collecting: a hommage, without ostentation, to genuine masters; a eulogy to lacquer, the positioning of this collection within the space of a life: that which could have been a miniscule appartement in Hanoi with walls filled with piled up artworks is, here, a garden, filled with majestic trees and languid pools, where the wind comes to gently caress the "Nha ruong", those those exquisite old traditional wooden houses of Hue. An hommage to the national masters like....

A eulogy to lacquer: lacquer is, with painting on silk, one of the two major elements whish the Vietnamese School has brought to worls history. In this presented collection all the artists witness this: how can one forget that Tran Quang Tran was the first to produce a lacquer that met the new concepts advocated by Victor Tardieu's Ecole des Beaux Arts? How can one forget that To Ngoc Van was the creator of the finest lacquer masterpiece "Nghi chan ben doi" (Stopping Place on the Hill). And one must not overlook Truong Be (born on 1942), the greatest contemporary lacquer artist, of the calibre of Nguyen Gia Tri, and Nguyen Trung (born in 1940) whose lacquer production remains exceptional and Boi Tran (born in 1957) who knows how to portray his grace and force in a powerful composition - all of whom remind one of just how magnificent this extraordinary medium of lacquer is.

In order to understand this collection, one must imagine this collection in the interior of a "Nha ruong" in a garden in Hue, on Thien An's hill - where everything suggests meditation without langour.

One thinks of Nguyen Gia Thieu (1741-1798) and of his masterpiece, the "Cung oan"

In courtyards planted with peach and plum trees 
Large shadows sleep 
On terraces decorated with urns and gongs 
The moon rests, dreaming 
Sails on the ocean with limitless dignities 
The waves and the winds tussle with each other

Tran Quang Tran (1900-1969), the famous "Ngym" who gives us a suave view of his dear "Westen Lake" at Hanoi, or To Ngoc Van(1906-1954) who discribes for us elegant women whose pose also reveals a hint of audacity. These works, drawn from the best sources ( the sons of the painters, respectively Tran Hung (an architect) and To Ngoc Thanh (an artist) offer us a privileged insight into these two major artists, unsurpassable protagonists in the genesis of Vietnamese paintings.