Top 11 Most Famous Painters in Vietnam

Nguyễn Sáng was a prominent Vietnamese painter who made significant contributions to modern Vietnamese painting. He was known for his deep thoughts and his ability to address major social issues with sensitivity, creating powerful works using modern forms and colors. His art was simple yet not dry, filled with heartfelt passion and a diverse talent. Alongside Nguyễn Gia Trí and Nguyễn Tư Nghiêm, he was a central figure in Vietnam’s lacquer painting tradition. Nguyễn Sáng's best-known works are in lacquer, and these are his greatest contribution to Vietnamese art in both technique and reputation. He was part of the prestigious 'Tứ Kiệt' group in Vietnamese painting: Nghiêm, Liên, Sáng, Phái.

Nguyễn Sáng used his art to support the national resistance. His themes ranged from women and flowers to the grandeur and serenity of ancient temples, the majestic beauty of forests and mountains, and peaceful rural scenes, as well as depictions of traditional folk games. He was a towering figure in Vietnamese lacquer art, blending European modern art styles with the country's traditional and folk art forms. His work harmoniously merged modernity with national heritage. He also had the honor of designing the first set of postage stamps for independent Vietnam, released in 1946, featuring the portrait of President Hồ Chí Minh. This was the first postage stamp to feature the name 'Vietnam' alongside an image of the leader who founded the Democratic Republic of Vietnam.

Nguyễn Tư Nghiêm was a renowned Vietnamese painter known for his work in lacquer, oil painting, and powder paint. He was one of the 'Tứ Kiệt' group—Sáng, Liên, Nghiêm, Phái—of Vietnamese art and was the last surviving member of this prestigious group. Nguyễn Tư Nghiêm is also one of the few Vietnamese artists to have his own museum, located at 90 B2 Trần Hưng Đạo, Hoàn Kiếm district. Art critics at the time recognized that his works blended modern techniques with traditional, local thinking, creating a unique style. His use of lines, colors, rhythm, and atmosphere always carried a stylized essence, drawing from motifs like Đông Sơn drum patterns, Lý-Trần ceramic designs, folk paintings, traditional temple architecture, and the rhythm of Vietnamese traditional opera and dance. Despite using modern, stylized techniques, his works still evoke the spiritual atmosphere of the Vietnamese people and surrounding Southeast Asian cultures.

The strongest material used by Nguyễn Tư Nghiêm was traditional lacquer, although he later incorporated powder paint and dó paper. His works often featured themes such as ancient dances, the legendary figure of Thánh Gióng, the tale of Kiều, and the zodiac animals. He was particularly fond of depicting Thánh Gióng, often portraying him with a horse in various poses and materials. Nguyễn Tư Nghiêm was an exemplary figure of artistic labor, creating works daily and continuously seeking innovation even after reaching his 90s. He is regarded as a leading figure of the second generation 'Tứ Trụ' of modern Vietnamese art, representing the achievements and distinct styles of Vietnamese painting from the early 20th century to the present.

Artist Dương Bích Liên was deeply immersed in studying global artistic styles and trends. He masterfully and uniquely handled various materials, particularly excels in lacquer, oil painting, pastel, and charcoal. Known for his portraits, Dương Bích Liên became most famous for his depictions of young women. It is often said, "For cityscape paintings, look to Bùi Xuân Phái; for portraits of young women, Dương Bích Liên is the best." His notable works include: 'Uncle Ho in Viet Bac Resistance Base' and 'Golden Afternoon'.

Remarkably, Dương Bích Liên did not wish to preserve his works. Upon his death, he expressed a desire for all his paintings to be destroyed. Today, the hundreds of pieces of his work still in existence are mostly kept by friends and admirers. One of his most significant paintings, 'Hào', now resides in the collection of Ngô Tấn Trọng Nghĩa, owner of the famous Apricot Gallery on Hàng Gai Street. Created in 1972, during the heaviest bombing raids by the U.S., the painting captures the internal state of the artist, depicting a somber, chilling atmosphere. The soldiers in the painting seem to accept their fate as they trudge through a desolate trench. This artwork has passed through many hands, including those of writers Nguyên Hồng and Tô Hoài, before being sold to a Vietnamese overseas art dealer in Singapore for $15,000 USD. It eventually found a home at the Apricot Gallery, though its final price remains undisclosed.

Bùi Xuân Phái was a globally renowned Vietnamese master painter, best known for his iconic paintings of Hanoi's Old Quarter (Phố Phái). He actively participated in the resistance and exhibited widely. In 1952, he settled in Hanoi at 87 Thuốc Bắc Street, where he lived until his passing. From 1956 to 1957, he taught at the Hanoi University of Fine Arts. That period saw Phái's involvement in the “Humanist Movement,” which led to his forced labor education at a woodworking workshop in Nam Định, and eventually, the school requested his resignation.

Bùi Xuân Phái was among the last generation of students from the Indochina College of Fine Arts, alongside influential artists like Nguyễn Sáng, Nguyễn Tư Nghiêm, and Dương Bích Liên. Specializing in oil painting, he was particularly passionate about capturing Hanoi's ancient streets. His series, affectionately known as “Phố Phái,” was celebrated for its nostalgic yet realistic depiction of the Old Quarter through the 1950s to the 1970s. The vibrant colors and bold lines in his paintings not only brought the streets to life but also created an emotional connection to the past, evoking feelings of nostalgia, longing, and a quiet sadness. Each brushstroke seemed to reflect the artist’s awareness of the inevitable changes and losses that would alter the essence of these streets forever.

Nguyễn Phan Chánh is a legendary figure in the art of silk painting. He served as a member of the National Assembly of the Democratic Republic of Vietnam (1964-1970) and is credited with bringing global recognition to Vietnamese silk art. Nguyễn Phan Chánh carved out a distinct identity for Vietnamese silk painting, setting it apart from major traditions in countries like China and Japan. His works are deeply imbued with affection for the working class, particularly the representation of women and the maternal bond, which feature prominently in his art. Nguyễn Phan Chánh's success lies in his ability to merge traditional Vietnamese painting techniques with the foundational principles of European art.

Over his extensive career, Nguyễn Phan Chánh created more than 170 works, establishing a vast artistic legacy. He holds the record for the most artworks displayed at the Vietnam Fine Arts Museum. In 2013, his painting “The Rice Seller” set a record when it was sold for 390,000 USD at Christie's International Auction in Hong Kong, marking the highest price ever for a Vietnamese painting at that time. Five years later, his work “The Child with the Bird” fetched 853,921 USD at a Christie's auction in Hong Kong, a record for a Vietnamese artist in 2018.

Vũ Cao Đàm was a renowned artist and sculptor whose works have been exhibited globally. He is one of the prominent figures in Vietnamese art, part of the celebrated quartet of European-trained artists (Phổ - Thứ - Lựu - Đàm). Vũ Cao Đàm was a member of the second class at the Indochina College of Fine Arts, though he was in the first cohort of the sculpture department (1926 - 1931). Initially, he worked in both painting and sculpture, but by his second year, he fully dedicated himself to sculpture. Graduating with distinction in 1931, he received a scholarship to study at the Louvre Museum in France to further his artistic knowledge. In 1946, during a visit by President Hồ Chí Minh to France, Vũ Cao Đàm met him and created a statue of him, becoming the first overseas Vietnamese artist to sculpt Hồ Chí Minh.

Many of his sculptures are considered masterpieces of modern Vietnamese sculpture, including works like "Portrait" and "The Young Woman with Comb", which are now part of the Vietnam Fine Arts Museum's collection. Living in France, he combined Eastern and Western philosophies with themes from Vietnam, and his works quickly gained recognition on the international market. Vũ Cao Đàm's paintings, influenced by Southern France's art scene during the height of Impressionism, blended Eastern traditions with Western techniques, playing a key role in enhancing the global reputation of Vietnamese artists.

Lê Phổ was a master Vietnamese artist renowned globally, particularly for his post-Impressionist style. He is often referred to as the "Vietnamese master in France" and is regarded as a towering figure in Vietnamese painting. Lê Phổ was part of the illustrious quartet of European-trained Vietnamese artists (Phổ - Thứ - Lựu - Đàm). He moved to France in 1937, where he lived until his death in 2001, never returning to Vietnam. In 1925, Lê Phổ was accepted into the first class of the Indochina Fine Arts College. He was one of the 10 Vietnamese students selected by Professor Victor Tardieu, a prominent European art expert, who placed them in an elite group known for their dedication to Eastern art forms throughout their five years of study.

Initially working with silk painting, Lê Phổ felt the medium’s limitations, especially regarding color depth and expression. This led him to shift to oil painting, which allowed for broader and more expressive content. His paintings began to depict women in a more liberated and sensual manner, breaking away from the rigid traditions of the past. Few Vietnamese artists have left a legacy as rich in both artistic and financial value as Lê Phổ. His works, including pieces like "The Lady in the Garden" and "Feeding the Birds", have been sold for record prices, with some reaching close to 100,000 USD in 1997. His lacquer painting, "The Lady", owned by architect Nguyễn Quốc Cường, is regarded as the most valuable at the Đinh Tiên Hoàng exhibition hall in Hanoi.

Nguyễn Tường Lân was one of the early greats of Vietnamese art, part of the famous quartet: "Nhất Trí, nhì Vân, tam Lân, tứ Cẩn". Due to the war, little information remains about his life, and only a few of his works have survived. He is considered one of the few artists of his time who could harmonize pure colors into simple yet symbolic and refined compositions, even in silk paintings. In the 1940s, with bold brushstrokes and a free-spirited rhythm, Nguyễn Tường Lân began breaking conventions, leading him to abstract art.

Nguyễn Tường Lân attended the 4th class at the Indochina Fine Arts College (1928-1933). After graduation, he opened a well-equipped studio in Hanoi, known for its beautiful models. Mastering oil painting, lacquer, silk, woodcut, powder colors, and charcoal, he produced many works, although few remain. Lân was admired for his ability to integrate pure colors into balanced, symbolic, and subtle compositions, even with silk paintings. As early as the 1940s, his large, bold brushstrokes on decorative layouts indicated his move toward abstraction, as seen in works like "Two Young Women by the Window" (Salon Unique, 1943).

Master Nguyễn Gia Trí hailed from Trường Yên, Chương Mỹ, Hà Tây (now part of Hanoi). He graduated from the Indochina Fine Arts College in 1936. Nguyễn Gia Trí was at the forefront of the golden era of lacquer painting, from 1938 to 1944, creating pieces that blended realism with an ethereal, shimmering quality, with figures emerging from beneath layers of lacquer. His primary subjects were women and landscapes, often using the folding screen format where separate panels were arranged together to form a cohesive composition. His works remain considered the pinnacle of lacquer painting and continue to hold great value. During this time, his large piece, "Lưu Nguyễn Enters the Celestial Realm", was purchased by the French and displayed in the Governor General's residence in Hanoi (now the Presidential Palace), where it still hangs today.

He was a pioneer in elevating lacquer painting from decorative art to true masterpieces, earning him the title of "the father of modern Vietnamese lacquer painting." Nguyễn Gia Trí is also known for his role in introducing a new artistic movement in Vietnam, characterized by elegant lines and innovative approaches to lacquer art. By combining engraving techniques with new lacquer methods and applying Western compositional principles, he created modern works infused with national identity. His famous works include "Spring Garden of the North, Central, and South", "Dọc Mùng", "Village Gate at the Festival", "Young Woman by the Hibiscus Tree", "Sunset on the River", and "Móng Cái Landscape". The rare lacquer masterpiece "New Year's Festival" is also featured in this art auction, showcasing his immense talent.

Tô Ngọc Vân was a celebrated Vietnamese painter, known for his iconic contributions to modern Vietnamese art. He was also known by various pen names such as Tô Tử, Ái Mỹ, and TNV. Born on December 15, 1906, in Xuân Cầu, Văn Giang, Hưng Yên, Tô Ngọc Vân grew up in Hanoi. Coming from a poor family, he was a late starter in formal education and dropped out of high school in his third year to pursue his passion for art. In 1926, he passed the entrance exam for the prestigious Indochina Fine Arts College and graduated in 1931 as part of the school’s second class. After graduation, his works garnered recognition in France, and he traveled widely to paint in places like Phnom Penh, Bangkok, and Huế. Aside from his artistic pursuits, he was also a critic and contributed to several prominent art journals such as Phong Hóa, Ngày Nay, and Thanh Nghị, working closely with the famous Nhất Linh.

He is credited with pioneering the use of oil painting in Vietnam. Through his mastery of this medium, he captured the elegance and beauty of contemporary Vietnamese women, with his portraits of young women becoming iconic in the art world. As one of the 'Four Greats' of Vietnamese art, the title "Nhì Vân" refers to him. Tô Ngọc Vân is a revered figure in Vietnamese art, and his name has been immortalized in streets in both Hanoi and Ho Chi Minh City. His work has had an international impact, and his masterpieces are still cherished today. One of his most famous works, "The Young Woman with the Lily Flowers", was created in 1943 while he was teaching at the Indochina Fine Arts College. The painting portrays a young woman in a white áo dài, her head gracefully tilted towards a vase of white lilies. The simplicity of her form and the surrounding colors evoke a soft, melancholic beauty.

Trần Văn Cẩn was a distinguished Vietnamese artist, recognized as one of the leading figures in modern Vietnamese art, often mentioned as part of the famous quartet: Nhất Trí, Nhì Vân, Tam Lân, and Tứ Cẩn. He was also instrumental in perfecting the design of the Vietnamese national emblem as we know it today. Born in Kiến An town (now part of Hải Phòng), he came from a humble intellectual family. His father worked as a postal clerk, and despite financial hardships, he received a good education. In 1924, after completing his elementary schooling in Kiến An, he moved to Hanoi to live with his grandmother.

In 1931, after three months of preparatory studies under the guidance of artist Nam Sơn, he passed the entrance exam for the Indochina Fine Arts College, joining the sixth class (1931-1936) alongside other notable artists such as Nguyễn Gia Trí, Lưu Văn Sìn, Nguyễn Văn Tại, Nguyễn Thụy Nhân, and Vũ Đức Nhuận. During his time at the college, he focused on both learning and creating art. In 1933, he, along with Lê Phổ, Phạm Hậu, Nguyễn Khang, and Trần Quang Trân, began researching traditional lacquer techniques, experimenting with ways to layer lacquer and polish it, eventually succeeding in creating lacquer paintings with red lacquer and eggshells.