Nguyen Minh Truc Son

PhD Candidate in Vietnamese Studies at Hong Bang International University; Lecturer at the Faculty of Technology and Engineering, Vietnam National University, Ho Chi Minh City. Hong Bang International University

DOI : https://doi.org/10.58806/ijsshmr.2025.v4i7n12

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ABSTRACT

Nineteenth-century French art, with the advent of the Impressionist school in the 1860s, created an important turning point in the history of fine art, profoundly changing the face of world art culture. This innovation is not only reflected in aesthetics but also reflects the change in artistic ideology, towards a modern, personal and characteristic view in painting. In that context, Vietnamese painters of the Indochina College of Fine Arts generation are trained according to Western academic programs, mastering graphic techniques, anatomy, perspective and approaching many European schools. However, the artists skillfully applied these techniques to express traditional Asian themes and spirits, thereby forming a new style of painting, harmoniously combining European scholarship and Vietnamese cultural identity. During this period, the image of the female body was also gradually accepted more widely by society, creating conditions for the development and sublimation of nude art. In Vietnam, nude painting has become a unique demonstration of the delicate combination of French art style and Vietnamese aesthetics. The artistic intersection between Vietnam and France in the field of painting is a unique cultural phenomenon where traditional and modern elements are fused and distilled the quintessential values through the creative thinking and aesthetic sense of Vietnamese painters.

KEYWORDS:

French art, Impressionism, academia, nude painting

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VOlUME 04 ISSUE 07 JULY 2025