Session - 27 November 2020
This session focuses on Asian artists who made Paris their home during the 1920s and 1930s. As it has been well-documented, from the end of the nineteenth century to the late 1900s, Paris remained a magnet for artists coming from all over the world. From practical training, to a rich historical and cultural patrimony, and a culture with a reputation of permissiveness, Paris offered also plenty of opportunities to show your work and a dynamic network of dealers in an artist-friendly art ecosystem.
The three papers selected will stress the central role played by Paris in facilitating the appropriation of western modern art styles and techniques by Asian artists. These artists from Indonesia, Japan and China took what they learned in Paris to develop their own take on modern art; all using it to different ends. Foujita created a hybrid style that positioned him as an exotic artist in a very crowded Parisian art world. Salim Saraochmin and Raden Mas Jodjana, despite their nationalist affiliations worked in an international style based on formal solutions rather than images of revolution. Liu Kang took what he learned in Paris first back to the Shanghai Art Academy then to Singapore to become one of the main artists responsible for the formation of the Nanyang Style. Finally, by looking at the market for Foujita and Liu Kang, this session hopes to demonstrate that the artworks of these historical figures continues to be popular among the Asian audience.