68 - Ⓗ TA TY (1922–2004)

Ⓗ TA TY (1922–2004) "Light of the Buildings," 1960 68 - Ⓗ TA TY (1922–2004) “Light of the Buildings,” 1960 Oil on canvas Signed and dated lower right 75 × 60 cm The work is accompanied by a photograph taken with the artist Ta Ty’s daughter The work is featured in the exhibition “Splendors of Saigon of Yesteryear III,” organized by the Ho Chi Minh City Fine Arts Association. Provenance: Collection of Architect Võ Đức Diên This work comes from the private collection of Vietnamese architect Võ Đức Diên (1930–2005), a renowned figure in Vietnam’s architectural and cultural landscape. He is best known as the architect of the iconic “Thủy Tạ Glacier” building, located on the shores of Hoàn Kiếm Lake in Hanoi—a masterpiece blending French neoclassical elegance with Vietnamese architectural sensibilities of the 1950s and 1960s. A close friend of Tạ Tỵ since the 1950s, the two men shared a special intellectual and artistic bond. This painting was given by Tạ Tỵ to Mr. Diên as a token of their friendship and the mutual respect they held for one another on both artistic and professional levels. It was subsequently carefully preserved in the architect’s family home before being passed on to the current owner. TẠ TỴ (1922–2004) Ánh đèn Building, 1960 Oil on canvas Signed and dated in the lower right corner 75 × 60 cm The artwork is accompanied by a photograph featuring the artist Tạ Tỵ with his daughter The artwork was displayed in the exhibition: “Echoes of a Bygone Era: Old Saigon, 3rd Edition,” organized by the Ho Chi Minh City Fine Arts Association Provenance: Collection of Architect Võ Đức Diên The work was formerly part of the private collection of architect Võ Đức Diên (1930–2005), a highly respected figure in Vietnam’s architectural and art communities. He designed the famous Kem Thủy Tạ building on Hoàn Kiếm Lake—an iconic structure of modern Hanoi in the 1950s and 1960s that blends French neoclassical style with Vietnamese architectural identity. He was a close friend of painter Ta Ty since the 1950s; the two frequently exchanged ideas on art and were as close as soulmates. This painting was given to Mr. Dien by Ta Ty as a testament to their friendship and mutual professional respect. Later, the work was carefully preserved in the architect’s private home and subsequently transferred to its current owner. Created in 1960, at the height of his abstract period, *Lumière des immeubles* marks a decisive transition in Tạ Tỵ’s artistic career. Against a vibrant golden background, a central black mass dominates the composition, evoking a stylized urban structure with sparkling, illuminated windows. The flat areas of blue, orange, and red symbolize the nocturnal glow of a modern city—dynamic yet solitary. The work attests to the painter’s sensitive and perceptive view of the transformations in contemporary living spaces and society. It also stands as a remarkable example of how a modern, Western-inspired visual language harmoniously blends with the profound expressiveness of a Vietnamese artist. "Ánh đèn building" formerly belonged to the private collection of architect Võ Đức Diên (1930–2005), a respected figure in Vietnam’s architectural and art circles. He is best known as the architect of the Kem Thủy Tạ building, located on the shores of Hoàn Kiếm Lake in Hanoi. An iconic structure of Hanoi’s modernity in the 1950s and 1960s, it combines the spirit of French neoclassicism with the distinctive features of Vietnamese architecture. Võ Đức Diên had been a close friend of the painter Tạ Tỵ since the 1950s. The two men regularly exchanged views on art and shared a relationship marked by a deep intellectual and artistic affinity. Tạ Tỵ gave him this painting as a token of their friendship and the mutual respect they held for each other’s professional careers. The work was then carefully preserved in the architect’s home before being sold to its current owner. Created in 1960—the peak of Tạ Tỵ’s abstract period—the work *Ánh đèn building* marks a significant shift in his artistic vision. Against a thick, golden background, a central black mass dominates the composition like a modern architectural structure, where the