Panchi Sayargyi U Thu Kha, Centenary Art Exhibition – The Strand Hotel, Yangon, Myanmar

ပန္းခ်ီဆရာၾကီး ဦးသုခ ႏွစ္ ၁၀၀ ျပည့္ ပန္းခ်ီျပပြဲ

I’m honoured to have been invited by my friend, internationally renowned Burmese artist Min Wae Aung, to join him in an art exhibition celebrating the centenary birth year of Saya U Thu Kha (1918-2007), a seminal figure in the arts movement in Myanmar and a teacher of Min Wae.

The exhibition, comprised of international artists, will take place at The Strand Hotel (Ballroom) in Yangon, from 13-15 November 2018.

My work has actually been held at Min Wae’s gallery, the New Treasure Art Gallery in Yangon since the beginning of August 2018 before it is exhibited at The Strand.

Thank you to Min Wae, who provided the biographical information and resources related to this article on Saya U Thu Kha.

SAYA U THU KHA

Born Muang Thu Kha on 11 November 1918, his family lived in the west end of Yangon and owned a food stall at Scott Market, now renamed Bo Gyoke Market. His parents, U Pu and Daw Mya Hnit had no artists among their ancestors but they were related to those involved in art; his mother was a niece of Daw Mya Shwe, a cousin of Daw Mya May, the wife of a commissioner who strongly supported the art movement and is known as the Mother of Myanmar art.

Whilst under British colonialism in 1910, nationalism and political awareness began to take root in Myanmar, propelling literature and the arts into the 1920s. Various national newspapers hired Myanmar illustrators, increasing public awareness of the art movement. After the country’s first strike, Daw Mya May and her husband U Hla Aung opened a Buddhist Middle school for boys on Pagoda Road in Yangon and one for girls on Canal Street; U Thu Kha attended his great aunt’s Buddhist Middle School for boys when he was of school age. Whilst studying, his growing interest in the arts could not be contained. He broke school rules during 6th grade by covering the school’s freshly painted latrine walls with his drawings which resulted in a harsh caning from his teacher that was so severe the school doctor was called and he spent the next three days to recover. Upon his return, he explained to the teacher that his passion for art compelled him to paint. Seemingly regretful, his teacher immediately wrote a note for Muang Thu Kha giving him permission to attend classes at the Burma Art Club and become a life member until 1928 without paying any fees. It seems this incident had unexpectedly opened a door to his future.

In pre-war years, Muang Thu Kha was the general secretary of the art club of the State High School for four years. He entered the annual competition for art, crafts and technology held at the Jubilee Hall in Shwedagon Pagoda Road, and won gold medals and prizes every year; he also exhibited in artist group shows sponsored by U Ba Nyan at the Burma Art Club. Aside from painting, he was a talented sportsman, playing football, basketball and boxing. His father’s uncle was a famous athlete of the time, U Ba Than (Sando).

He became a teacher in 1938, passing the examination held by the all Burma Education and Information Department. After independence in 1948, he became a member of the newly established Artists and Sculptors Union. He was the in-house illustrator of the English-language version of the New Times of Burma and the weekly Business Review in 1950. In 1952, he participated in an art exhibition held on the premises of the Rangoon Gazette Press on Bo Aung Kyaw Street (now the offices of Myanmar Times), at the Sarpay Beikhman Art Exhibition in 1959 and later at the annual art exhibition held at the Envoy Hall (now the Tatmadaw Hall) by the National Art and Sculpture Council.

In 1963 he was inaugurated as an instructor at the Yangon State School of Fine Arts, later becoming a principle until his retirement in 1984. He was known to be very patient, teaching his students basic skills and anatomy, emphasising their need to draw first in pencil before using colours. Whether they were good or bad, he treated his students as friends, often buying them tea, meals or a bus fare. In 1972, he studied block printing and mosaic in Germany and then toured Egypt. Whilst he was teaching at the SSFA Yangon, he was also taking classes at the Rangoon University Art Club. Until his death, he served as the patron of the Traditional Artists and Artisans association. In 1997 he was awarded an honorary professorship by the Department of Fine Arts.

When his student, Min Wae Aung, opened the New Treasure Art Gallery, U Thu Kha acted as patron, coming there to paint regularly until his very last days. After suffering a brain haemorrhage in 2000, he came three days a week to the gallery, painting every time he came.

Aside from painting, he wrote articles and books on art. One well received publication was his translated book ‘International Methods of Figure Drawing,’ complete with illustrations.

A popular teacher, his students had begun paying homage to him through an annual Homage ceremony to Elder Artists from 1978 until 2006, twenty nine years in total. Initially they went to his house but later changed the venue to the New Treasue Art Gallery after it was established.

Saya U Thu Kha is known to be one of two Burmese artists, the other Saya U Thein Han, to teach art well into their retirement years. Compelled by the desire to further the arts in Myanmar, both artists opened private classes after retiring from teaching.

Many of his students achieved fame, including Min Wae Aung, Thein Shwe Kyi, Win Thaw, Ngwe Kyi, Shwe Min Thar, Zaw Min and Aung Min Thein amongst others.

U Thu Kha passed away in 2007 at the age of 89 and is survived by his wife Daw Khin Ohn and their eleven children. Long may his legacy continue.

My contribution to the exhibition is a 1m oil painting on canvas board, entitled
‘Bluebell Woods’:

Discovering Rare Masterpieces & 5000 years of Art at London Art Week, July 2018

‘The artist sees what others only catch a glimpse of.’ Leonardo da Vinci

Nestled between the streets of Mayfair and St James’, behind the elegant facades of historic London townhouses, lies 40 bespoke galleries, 3 of the world’s most celebrated auction houses, and over 5000 years of art.

For traditional fine art dealers, collectors and enthusiasts alike, this affluent district provides a marvelous treasure trove of ancient sculptures, old master paintings, post-Impressionist paintings, drawings, and textiles.

Each gallery is a specialist in their field, catering both to prominent museums and art collectors, as well as being open to all members of the public throughout the year. They offer a unique opportunity to peruse and buy, artworks and masterpieces at leisure and in a private setting, a welcome refuge away from the crowds at larger institutions.

Often operating through word of mouth, each gallery is so specialised in its area and seemingly discreet, that most clients become familiar with their exhibitions not just through publications and extensive scholarship, but also through fine art fairs such as Masterpiece, which is held annually at the Royal Hospital Chelsea.

The galleries and auction houses also participate in London Art Week, a twice yearly event which acts as a tantalising taster into their acquisitions, exhibitions and research. Visitors are offered free art gallery tours, talks and the opportunity to buy artworks from some of the most distinguished art dealers and curators.

Just as Leonardo Da Vinci adeptly expressed the unique vision an artist has, so do collectors, connoisseurs, dealers and art enthusiasts yearn to see into the soul of the artist and, through years of dedicated research, expertise and passion, bring to light the periods of art history which deserve inclusion in the canon of artistic influence.

Over the course of one week, from 29 June to 6 July, the founders of London Art Week (LAW), take visitors on a free lunchtime walking tour in either Mayfair or St James’, with the itinerary changing each day. I attended the tour on 4th July, lasting just 60 minutes and offering a glimpse into four bespoke art galleries in Mayfair. Some galleries were also exhibiting artworks at Masterpiece, but many of their most historically significant pieces remained at the gallery. I had no previous knowledge of which specific galleries we would visit and I was delighted with the ones chosen by LAW that day, some almost concealed on street view in elegant London townhouses and all within walking distance of one another.

Our first port of call was Lullo – Pampoulides on Cork Street, exhibiting master paintings and sculpture. Established in 2016 by Andrea Lullo and Andreas Pampoulides, each artwork was presented with rigorous scholarship, their aim, according to gallery manager Chiara, to assist art lovers from all ages to engage with art across all periods.

The below oil painting by Antonio Mancini (1852-1930) was the most contemporary painting on display at Lullo – Pampoulides, having been painted in 1910. Entitled ‘Suonatrice di mandola’ or ‘Il costume giapponsese,’ it depicts a woman wearing an antique Japanese costume playing the mandola. The paint thickens in places in an expressive impasto technique, creating a glistening effect. The use of light within the painting illuminates her smiling expression, suggesting her contentment and ease with the viewer:

Both Lullo and Pampoulides are compelled by their passion for art and acquire pieces that especially capture their discerning eye, even if the origins or attribution is unknown. Part of the joy of being an art specialist must be in the pursuit of discovery and unearthing new and historically significant artefacts! The below terracotta sculpture, depicted with the same energy as an Auguste Rodin piece, is awaiting attribution and currently undergoing research. A recent acquisition, it has however been established to be of the esteemed classical composer, Giuseppe Verdi, but sculpted post humously.

A stunning bronze sculpture of Jesus is also a recent acquisition and is under investigation for its attribution.

Directly across the street from Lullo – Pampoulides lies Sam Fogg gallery, his name emblazoned prominently above the large windows. A leading art dealer in late medieval and renaissance textiles, Fogg is committed to redefining the market for medieval art in Europe. Luxurious silks, intricate weaves, patterns and tapestries in incredible colours and condition adorned the walls in a mixture of Christian, Islamic and Indian pieces.

Where some tapestries were evidently historic in their patterns, some were also quite contemporary in their designs, such as this Perugia Towel, with wyverns, griffins and human figures. Dating from 15th or 16th century, the towel originates from Central Italy:

Velvet chasuble back with the Crucifixion from Central Europe, Bohemia, circa 1500:

As a reader of English Literature at University, with modules on Medieval literature, chivalric romances in particular, I was delighted to discover this large tapestry depicting The Marriage of Blanchefleur from the Story of Garin and Begon, originating from Southern Netherlands in 1460-80:

Next we visited Lowell Libson & Johnny Yarker, specialist dealers in British art with an emphasis on watercolours, paintings, sculpture and drawings of the seventeenth to mid-nineteenth centuries. Their exhibition, ‘The Spirit & Force of Art: Drawing in Britain 1600-1750‘, was on show from 29 June to 6 July so it is worth researching the galleries to see what and when they will feature a new exhibition. The result of ten years collecting, this unprecedented exhibition celebrated almost 100 British drawings from a period before the foundation of the Royal Academy. It offered a rare opportunity for art collectors and museums to acquire significant works from 1600-1750 that were previously neglected by the art market and both private and institutional collectors. Some of the artworks on display were influenced by the fashionable Dutch and Flemish styles of the sixteenth century, rather than by the Italian imports during the reign of Charles II.

I look forward to visiting Libson Yarker again and perusing further drawings by master court painter, Sir Peter Lely, and renowned 16th century artist Louis Laguerre, whose murals decorate Fetcham Park House, a gorgeous Grade II listed house and wedding venue. There is also a portrait of the English ship, Princess, by Willem Van de Velde the Younger, 1633-1707, that was particularly intricate and beautiful.

Isaac Oliver’s masterpiece in miniature, The Annunciation to the Shepherds:

Jacques Rigaud, The Rotunda at Stowe:

Louis Cheron’s drawing of Mars:

Our last stop on the art tour was Ben Elwes Fine Art, a specialist dealer in Old Master, British, nineteenth and twentieth century paintings, drawings and sculpture. Together with his wife and co-director, Rachel Layton Elwes, who comes from an American academic and museum background, they offer a discreet service, with broad expertise in the market. Their clients include the National Gallery, Tate Britain, the Musee du Louvre and the Met.

Their exhibition for London Art Week featured vibrant Old Master oil paintings on canvas and copper, the latter material delivering a gorgeous intensity of colour.

The below oil on canvas painting by Carlo Dolci is entitled ‘Portrait of a Young Man,’ and was completed between 1627-1633. This portrait, perhaps of a fellow artist, was painted when the artist was just 12 years old, however as Ben pointed out, an artist would often be apprenticed at a professional artist’s studio from the age of six, so this portrait is in fact the culmination of six or seven years of experience:

A portrait of Jesus which captures the highly emotional moment before he was flogged. Giovanni Lanfranco (1582-1647), Christ at the Column, Oil on copper:

Ben and Rachel also have a propensity to collect abolitionist art, particularly as a result of Rachel’s study of African American history. Aside from some poignant artefacts such as an original slave collar, there was also a Staffordshire porcelain figure of abolitionist, John Brown, and the below painting by prominent early nineteenth century artist, Henry Hoppner Meyer (1780-1847). Entitled ‘A Young Catechist’, it depicts a young missionary teaching a slave how to pray. The portrait was exhibited at the Society of British Artists in 1827, accompanied by a poem by Charles Lamb.

A corner of the gallery also revealed this treasure, a portrait of a Navajo woman painted in 1916 by Maxwell Armfield:

The tour was now complete, but the founder of London Art Week and our guide, Philippa, urged us to visit Daniel Katz gallery and Ariadne gallery, both situated in a Victorian townhouse just off Berkeley Square. Behind an elegant façade, paintings from antiquity to the twentieth century were on display.

Located on the first and second floors, the exhibition at Daniel Katz placed an emphasis on women in elegance for London Art Week and included paintings by Gustav Klimt and Dante Gabriel Rossetti of the pre-raphaelite brotherhood.

Oil on canvas portrait of Lady Hillington by Sir Frank Dickser, 1905:

A Japanese Lady, oil on canvas, by William Meritt Chase, circa 1902:

A vibrant study of a Neopolitan girl by John Frederick Lewis, RA (1804-1876), in mixed media: pencil, black chalk and watercolour.

Rounding the corner of the main hall however, was this magnificent oil painting seemingly illuminating the dimly lit corridor. There was no description which added to its enigmatic quality, but the intensity of light exuding from the painting in almost a chiaroscuro effect was astonishing.

This detail of the silk dress emphasises the remarkable glazing technique of the artist to render a translucent and almost sculpture like effect.

Upon walking upstairs to Ariadne Gallery, my friend and I stumbled upon the director’s office where he kindly allowed us to look around the art pieces on display. This clock caught my attention and although we didn’t have time to discuss the piece with the director at the time, its elaborate design reminded me of one of my favourite periods of art history, Baroque.

On the second floor of the townhouse lay Ariadne Galleries, leading specialists in ancient art. Based in New York with their second gallery in Mayfair, the family dealers have established themselves as unique in their field, with an extensive client base stretching from private collectors to prominent institutions. They are also regular exhibitors at Frieze Art Fair, Tefaf and Masterpiece.

Miniature artefacts of antiquity were delicately arranged on plinths, not behind glass as in the British Museum, but on display for buyers and collectors to handle (with care of course). Indeed, the artefacts were not originally intended for arts sake or even solely for burial purposes, but also to be used either in religious rites or everyday use, such as a mirror or cosmetic vessel, the latter of which was intended perhaps to hold perfume. It’s also incredible to fathom that these artworks were created without machinery or complex tools.

The minimalist design of the artefacts bordered on abstraction, void of unnecessary details. The central figure in the below photo reminded me of Alberto Giacommeti’s work and although it might look modern, like other pieces in the gallery, it seems generations of subsequent sculptors and painters such as Picasso have simply been inspired by ancient artworks to create similar styles of art:

Gallery specialist, Alex, pointed out that artists from ancient periods have been largely erased from history, the sole purpose of the work was to signify something symbolic and cultural, larger than the artist themselves. Indeed, the artwork is then admired for its own sake or its religious significance, rather than a study of a particular artists work. This is in stark contrast to artists from the Renaissance onwards, where the artists name has become more important.

Juxtaposed against these ancient works of art were abstract modern paintings by Richard Serra; the contrast of black etching ink, silica and paintstick on handmade white paper evoked a similar, yet contemporary, mystery and primeval quality.

From Mayfair, we then headed to Christie’s on King Street, St James’ London. Founded by James Christie, the auction house has established itself as the greatest and most celebrated market leader in old master paintings, most recently selling Leonardo Da Vinci’s Salvator Mundi for $450 million. My friend and I had just missed the auction viewing, but will be headed there again for another viewing in the near future!

One particular wish of mine during London Art Week was to see works by Canova, considering we had missed a recent talk on his works. With that in mind, we headed to Robilant and Voena located in Dover Street, where the curators have acquired a vast range of fifteenth century to twenty first: old masters and nineteenth century painting, classic modern, Italian post-war and contemporary art. They have also shown works by another of my favourite artists, Caravaggio.

Luminous oil paintings adorned the walls but I eventually found what I had been seeking, not the subject necessarily, which was of Caroline Bonaparte (apologies to Caroline), but the artist, Antonio Canova; his sculpture, Psyche being revived by Cupid’s kiss, is an emotional and graceful piece capturing the beauty of their love seemingly effortlessly. To render such a tender look in marble for me is astonishing and reflects a similar prowess to another sculptor, Gian Lorenzo Bernini.

There are many more galleries in Mayfair and St James’ that participate in London Art Week and which I didn’t have time to visit, so I look forward to discovering their artworks soon! I would highly recommend visiting these galleries throughout the year to either peruse or buy, an appointment is not needed. Intimate settings define the galleries on show and offer a welcome private retreat from the crowds at other larger institutions nearby. The owners and gallery specialists look forward to welcoming you soon!

This is my oil on paper rendition of a beautiful ornate pattern which can be found at Sam Fogg’s gallery on a panel of polychrome voided silk velvet from Ottoman Turkey, circa 1460-90:

Environment Trust Secret Art Sale: 2017 Results

I’m delighted to share that the Environment Trust has held another fantastic Secret Art Sale. 234 artists anonymously donated a record making 375 A5 sized artworks to the sale; more than half were sold by lunchtime on the first day, with many visitors queuing for several hours before the doors opened.

Over £13,000 was made over two days on 21-22 September, which is a substantial increase from the first Secret Art Sale held by the Trust at the RACC last year. All proceeds benefit the charity’s work in local wildlife and environmental conservation across south west London, in particular supporting their work enabling wildlife corridors.

Results from last year are covered in my previous blog alongside a more in depth look at wildlife corridors and the themes covered in the Secret Art Sale so far.

I arrived at the event in Parkshot, Richmond, towards the end of the Private View on the first day and was thrilled to see that my own oil painting had already sold.

Donations were made by architects, artists, celebrities, students, jewelers and RA members. Wildlife photographer and the Trust’s patron, Gordon Buchanan donated an artwork, as well as another much admired patron, the Gruffalo artist, Axel Scheffler.

You can view all the revealed artists from the 2017 sale here, see if you can spot my contribution!

A close up of all the individual panels displaying the artworks are now available to view on Flikr.

I’m very pleased to have heard from the art collector who bought my painting and revealed they were excited to have it framed and displayed prominently in their home.

I look forward to donating another art work next year, I hope you can join us and support a great cause!

Parallax Art Fair: Chelsea Town Hall, Oct 21-22, 2017

I’m delighted to announce that I will be exhibiting several original oil paintings at the ’boutique-style’ Parallax Art Fair in Chelsea Old Town Hall on 21-22 October. Held at the beautiful Grade II listed Town Hall on the fashionable King’s Road, the event will gather over 200 international emerging and established artists to display and present their unique works of art directly to the public.

Originating in 2010, the fair sought to accomplish a new art exhibition experience within a gallery-style setting. The October event will be my inaugural exhibition at this popular fair and I’m looking forward particularly to meeting other artists and discovering new paintings, sculptures, textiles and crafts, as well as meeting art collectors.

The surroundings are another, not insignificant, reason I decided to exhibit there. The Town Hall’s magnificent late Victorian architecture and interior decoration provides a spectacular backdrop, and the Main Hall (where the artist led fair is held each year), boasts glorious decorated ceilings and furnishings.

For travel information, please see the event site, here.

To attend the private view on 20 October, please RSVP by emailing me at info@charlotteigguldenart.co.uk

I look forward to seeing you there!

Ps. This pencil drawing is my slightly exaggerated and romanticised version of the building: the stairs are not in fact this high, nor are the plants tumbling down the building’s walls. Nevertheless I think they are attractive additions 🙂

Art UpCLOSE – Monaco, Miami and New York

‘It doesn’t matter where you go, it’s who you travel with.’ Anonymous

I’m excited to announce that I have recently signed with New York based art agency, Art UpCLOSE! They are a pioneering art marketing company who will be showcasing my paintings digitally via flatscreen at events in Monaco, Miami and New York. Modern technology has revolutionised the art market and I’m looking forward to promoting my paintings and drawings in niche markets worldwide using their company strategy.

Our first destination will be the exclusive Monaco Yacht Show (MYS) for the ultra luxury market in Monte Carlo on 27-30 September 2017, under the high patronage of His Serene Highness Prince Albert II of Monaco. MYS has been set in the iconic Port Hercules of the Principality of Monaco since 1991 and is the only place to admire and purchase around 125 extraordinary one-off yachts built by the world’s most respected shipyards. 580 companies and partners participate in MYS among the world’s leading brands, designers and luxury manufacturers. Art UpCLOSE have been selected as the only company representing art at this unique event and will be exhibiting my paintings and drawings, alongside other artists work, during daily private receptions held in the Artifact booth at the new Starboard Pavilion, next to Bentley, Ferrari, Lamborghini, McLaren and Rolls Royce.

After the Monaco Yacht Show, there will be three more global art and design fairs in Miami and New York to look forward to in the coming months and into 2018, namely: Spectrum Miami on December 6-10, 2017, the Architectural Digest Design Show in Manhattan in March 2018, and Artexpo New York on April 19-22, 2018. I also have my art exhibited continuously alongside other artists, via flatscreen in Artifact’s Manhattan gallery in Orchard Street, New York. You can read more about Art UpCLOSE on their website, where my original oil paintings and drawings are now available to view.

I’m looking forward to seeing what the coming months and next year will bring and what God has in store. All glory goes to Him. I hope you can join me on this journey with Art UpCLOSE.

Next stop.. Monte Carlo!