Banh Tien Long; Kozo Ishizaki; Hyung Sun Kim; Yun-Hae Kim; Nguyen Duc Toan; Nguyen Thi Hong Minh; Pham Duc An Springer International Publishing AG (2024) Kovakantinen kirja
Banh Tien Long (ed.); Kozo Ishizaki (ed.); Hyung Sun Kim (ed.); Yun-Hea Kim (ed.); Nguyen Duc Toan (ed.); Nguyen Thi Minh Springer (2023) Kovakantinen kirja
Banh Tien Long (ed.); Kozo Ishizaki (ed.); Hyung Sun Kim (ed.); Yun-Hae Kim (ed.); Nguyen Duc Toan (ed.); Nguyen Thi Minh Springer (2024) Kovakantinen kirja
Banh Tien Long (ed.); Kozo Ishizaki (ed.); Hyung Sun Kim (ed.); Yun-Hea Kim (ed.); Nguyen Duc Toan (ed.); Nguyen Thi Minh Springer (2024) Pehmeäkantinen kirja
This book presents a richly illustrated introduction to the life and work of one of Vietnam's most esteemed artists. Produced in Vietnam under the auspices of the Indochina Arts Partnership and the Saigon Cultural Publishing House, this volume presents the work of Vietnamese artist Huynh Phuong Dong. Born in Saigon in 1925, Dong participated in the final thirty years of Vietnam's long struggle for independence. He distinguished himself as a combat artist, creating sketches and drawings of scenes of battle, troops in action, and daily life in the guerilla bases, along with portraits of his comrades, both leaders and ordinary soldiers. From these studies, he would work up watercolors or oils later, as soon as a break in the fighting permitted. Many battle scenes are presented in nightmarish shades of red, reflecting the horror of combat. Dong's portraits are more intimate; he knew each subject and many of them did not survive the war. Dong himself was wounded in action in 1951 and again more seriously in 1969 during a B-52 air raid. He fought continuously during the American War for twelve years and was separated from his wife for a decade. But he survived and in the process created a body of work that has come to be treasured in his country. Along with 110 color reproductions of Dong's art - 75 images of war and 35 images of peace - the book includes a biographical essay by Lindsey Kiang and a critical assessment by art historian Johanna Branson. The entire text is presented in both English and Vietnamese.