Nguyen Tuong Lan (Vietnam, 1906-1946) in front of one of his works, today found in the Fine Arts Museum of Hanoi.

There is only a few sentences about Nguyen Tuong Lan cited from Wikipedia as below:

Nguyen Tuong Lan (1906-1946), a Vietnamese painter and a key figure in the early development of Vietnamese art. He was one of the prominent members of the "Four Greats" of Vietnamese art, often referred to as "First Trí, Second Vân, Third Lân, Fourth Cẩn."

Nguyen Tuong Lan, a prominent painter from the pre-revolutionary era, was a student at the School of Fine Arts of Indochina, where he was part of the fourth graduating class (1928-1933). Upon completing his studies in Hanoi, he established a studio that gained recognition for its state-of-the-art facilities and appealing models. Lan demonstrated considerable proficiency across a variety of artistic mediums, including oil painting, lacquer, silk, woodblock printing, gouache, and charcoal. Despite his extensive body of work, only a limited number of his artworks remain available in the market today.

In light of the present circumstances, I would like to recount a conversation I once overheard between my late father and Nguyen The Hung, a distinguished painter who served as Secretary of the Party Committee and Head of the Training Bureau at the School of Fine Arts in Hanoi. This discussion centred around the artist Nguyen Tuong Lan.

In December 1943, as the Americans bombarded Hanoi, the Indochina Bureau issued a directive mandating the immediate evacuation of all educational institutions from the city. As a result, the Faculty of Fine Arts and part of the Faculty of Sculpture from the School of Fine Arts of Indochina were relocated to Sơn Tây. This evacuation was led by Professor Inguimberty, with the assistance of painters Nam Son and To Ngoc Van.

From 1944 until the onset of the August Revolution, a group of students from the Fine Arts School, including Phan Ke An, Ta Thuc Binh, Mai Van Hien, and Mai Van Nam, were involved in transporting weapons for the Viet Minh. Despite their limited understanding of the Viet Minh's true nature, they assumed the organization was merely a faction of soldiers resisting Western and Japanese forces.

This operation was fraught with danger: firearms and ammunition were hidden within bundles of firewood, and the Viet Minh entrusted these students with transporting the concealed arms to specified locations. The risk was substantial, as capture by Western military forces would have resulted in immediate and severe consequences, including possible execution: killed or shot.

In early 1945, the last class of the School of Fine Arts of Indochine worked on their graduation project. At this time, geopolitical tensions between Japan and France reached a critical point. The group of evacuated students was dispersed in various directions; some of these students aligned themselves with the Viet Minh, while others continued to pursue their artistic practices independently by wandering.

The outbreak of the August Revolution marked a significant turning point in my father's life, as he traveled to Bac Giang to join the military effort aimed at seizing power and supporting the nascent government. Following the Tet holiday in 1946, driven by stress and concerns over his graduation project, my father journeyed to Sơn Tây to assess the status of his educational institution, only to find it had been disbanded. On his return to Hanoi, he fortuitously encountered Nguyen Tuong Lan. United by their shared artistic inclinations, they embarked on a collaborative journey, creating art as they traveled. Their travels eventually led them to Lạng Sơn, where my father conceived the idea of inviting Nguyen Tuong Lan to accompany him to Kunming, China, to visit his brother, who had resided there since 1938. As they continued their artistic journey, my father and Nguyen Tuong Lan arrived in Kunming at the end of June 1946, amassing a significant collection of paintings that captured the essence of their travels.

At that time, my uncle in Kunming was both prosperous and influential. Phung The Tai and Ta Dinh De, who were also in Kunming, benefited from my uncle's support. Upon their arrival, my uncle encouraged my father and Nguyen Tuong Lan to capture and portray the landscapes and people of Kunming, with the promise of organizing a major exhibition for their works. Concurrently, Emperor Bao Dai and the National Assembly of the Democratic Republic of Vietnam were en route to Chongqing, China, and subsequently to Kunming, following the conclusion of their national affairs. In Kunming, Emperor Bao Dai submitted his resignation from his advisory position to the National Assembly of the Democratic Republic of Vietnam.

During this period, Nguyen Tuong Lan serendipitously reunited with a close friend who was part of Bao Dai’s delegation. This friend, eager to reconnect, introduced my father and Nguyen Tuong Lan to Bao Dai. Following their conversation, Bao Dai pledged to arrange an art exhibition for them in Beijing.
Upon consulting with my uncle, he offered prudent counsel: “Given the current instability in our country, and the uncertainties surrounding the Viet Minh, Bao Dai, the British military, and Chiang Kai-shek’s forces, it would be advisable for you both to remain here. I will organize an exhibition for you, as following Bao Dai may jeopardize your careers.” Heeding my uncle’s sage advice, my father decided to stay in Kunming. In contrast, Nguyen Tuong Lan, resolute in his decision, chose to follow Bao Dai to Beijing. This parting marked their final farewell.

In July 1945, my father's art exhibition in Kunming proved to be highly successful. Most of his artworks were sold, primarily to American buyers (At that time, Kunming was under American concession, and my uncle had cultivated numerous friendships with American residents, which facilitated the sales). Concurrently, Nguyen Tuong Lan was held an exhibition in Beijing that was marked by impressive grandeur and unequivocal success. The Beijing newspapers extolled his paintings to such an extent that they mistakenly believed Nguyen Tuong Lan to be a member of Bao Dai's delegation.

In early August 1946, motivated by concerns for the welfare of his family, my father returned to Vietnam after an extended period in remote regions of China. Upon his arrival in Hanoi, then under the control of the Viet Minh, he went to stay at his sister’s residence in Ngọc Hà. The following morning, as he was departing her home, he was approached by individuals who inquired about his recent return from Kunming. They probed into details regarding his professional activities in Kunming, his associates, and his knowledge of Nguyen Tuong Lan. After addressing these questions, my father proceeded to Bắc Giang to contribute to the revolutionary efforts. Additionally, he participated in the inaugural fine arts exhibition of Northern Vietnam, known as the Democratic Republic of Vietnam, held at the Kindergarten Children’s Palace in Hanoi, presenting artworks that he had brought back from Kunming.

A few weeks later, Nguyen Tuong Lan returned to Vietnam but was apprehended by the Viet Minh upon his arrival. He was subsequently incarcerated, and thereafter, there was no further information or updates regarding his whereabouts or condition.

On December 9, 1946, amid the nationwide Revolution, many individuals joined the armed forces, including artists and government officials who relocated to ATK (An Toàn Khu – Security Area) to participate in the nation's founding uprising. During a progress meeting between the government and the Department of Culture, Letters, and Arts, Mr. Tr.H.L represented the government. On that occasion, To Ngoc Van highlighted the case of Nguyen Tuong Lan, a remarkably talented painter who was then imprisoned due to a misunderstanding of policy. To Ngoc Van and others advocated for Lan's release, arguing that his artistic expertise was invaluable to the revolutionary cause. He emphasized that it would be a significant loss not to utilize Lan's skills, especially in the service of the revolution. Following To Ngoc Van's impassioned plea, the attendees responded with resounding applause.

The sound of vigorous applause startled Mr. Tr.H.L, who was still half-asleep. Turning to his secretary, he remarked, "Individuals of this nature should be “eliminated” to prevent the misuse of government resources."

During this period, whenever Western forces conducted mopping-up operations at detention centres, there was a widespread flight from the area. Managing inmates and prisoners while evading the advancing enemy presented significant challenges, leading to "elimination" being considered the most practical solution. Consequently, during subsequent mopping-up operations by Western forces, no further evacuations were necessary from those areas, and Nguyen Tuong Lan was never seen again. The circumstances surrounding his fate remain unknown.

It is a lamentable situation for such a talented painter in Vietnamese art to face such a fate.

PS: Author Tạ Trí added on:
It is crucial to distinguish Nguyen Tuong Lan's actual fate from prevailing rumours. Contrary to some accounts suggesting he was a leader of the Vietnamese Nationalist Party who opposed the new government and was subsequently shot, these claims are unfounded. Furthermore, there were suspicions that he might have been a spy for the Vietnamese Nationalist Party, stemming from the fact that his name was absent from the official Bao Dai delegation list, despite his participation in the delegation's activities. However, these allegations do not reflect the true circumstances of his fate.

Written by Ta Tri (Son of Ta Thuc Binh)