BOOKS on Myanmar art have been few and far apart, so Khin Than Phyu’s Myanmar Modern Art Trend has been eagerly awaited.

It focuses on the lives and work of Myanmar’s modernist artists.

Author Khin Than Phyu, a painter herself, has been writing articles for art magazines for five years and is a veteran of the art scene.

But despite her in-depth knowledge of the subject matter, Khin Than Phyu does not go far enough in the book, leaving the reader somewhat unsatisfied.
A deeper insight into each artist would have been appreciated.

Another failing of the book is that, while there are pictures of each artist, there are no pictures of their works.

Thirty eight well-known artists are covered, from Myannmar’s modern art pioneers U Khin Maung (Bank), Bagyi Aung Soe and Khin One to Aung Myint, Tin Win to younger painters Nay Myo Say, Myat Kyawt and Aye Ko.

Despite the book’s title Myanmar Modern Art Trend, the subjects are not all purely modernist artists. Most, like U Kyee Myintt Saw, work in several different styles, producing impressionist and expressionist works alongside their modernist paintings.

What they all do share is a passion for art and a firm belief in what they are doing.

Still there is a range of attitudes, assumptions, opinions and beliefs amongst them.

The opposing beliefs of different artists are clear. Aye Ko is quoted as saying: “In my opinion, one can create modern art without having basic skills,” while another artist Aung Aung Teik, says: “One cannot create modern art without having basic painting skills.”

There are some interesting quotes which may be useful to young artists, such as this one by Bagi Aung Soe: “No matter how poor I am, I am not the slave of art, I am its master.” Paw Oo Thet is quoted as saying: “To develop realism, we need forms or images. We use artistic talents to describe the realism taste.

This is our ultimate aim.” And Bogie says: “To paint abstract works, one should know realism very well.”

Famous modernist artist Aung Myint’s opinion on painting is covered in the preface to the book: “A painting is not to inform and it needn’t be understood. The important thing is whether it gives the viewer enjoyment and satisfaction. A painting is to be appreciated with the heart.”

Despite the book’s shortcomings, aspiring artists and enthusiasts of Myanmar’s modernist art will still find it a good read. The Myanmar edition is out now with an English edition to follow soon.

Manuscript permission Number: 235/2004 (4), cover permission Number: 572/2004 (7)