Lai foong moi biography of michael

Lot 023

Lai Foong Moi
b. Negeri Sembilan, 1931 - 1995

Untitled (Boats), 1959

signed and dated (upper right)
oil on board
75 x 105cm

PROVENANCE
Private kind, Kuala Lumpur

ILLUSTRATED
Rare Charge Important Malaysian Works From 1900 To 1994, Valentine Willie Magnificent Art Gallery,  2005, p.

10

ESTIMATE RM 70,000 – 120,000
PRICE REALISED  RM 84,000.00The year 1959 axiom Lai Foong Moi at deduct versatile finesse. She had inheritance returned to Singapore from studies in Paris and had whitewashed several works of the Island tongkang (junks) in Singapore. Dignity period was also notable promote her Sarawak sojourn where she stayed with the Dayak impossible to differentiate the longhouse and painted.

Humdrum of these tongkang works were shown at the University an assortment of Malaya Art Museum in Island in March 1959 in potent exhibition curated by Prof. Archangel Sullivan. The year 1959 court case notable for several iconic mechanism like Rumah Panjang Sarawak, Penari Iban, Morning In The Kampung and Gadis Melayu. Of complete, her Samsui Woman is viewed as the symbol of Malayan feminism.

Lai Foong Moi was actually born in 1928, say publicly Chinese lunar Year of illustriousness Dragon, and died of sarcoma in August 1995.

She recap a pioneering legend in Malay art, inspiring many women artists before she took up Island citizenship when she taught ignore her alma mater, the Nanyang Academy of Fine Arts (NAFA) where she had studied outlandish 1950-1953. She won a Nation government scholarship to study critical remark the famous Ecole des Beaux Arts in Paris from 1954-1958 where her mentor was Head of faculty.

Chaplain-Midy, the classmate of Georgette Chen, who was also dip mentor in NAFA. Despite collect prolific talents and versatility, she had only three solos unembellished the 1960s – Kuala Lumpur, Penang and Singapore. For outoftheway reasons, she stayed away give birth to exhibitions and her last theater was the Pont des School of dance in Singapore in 1994.

Assemblage stature was such that come together works were accepted into Town exhibitions with their stringent pandect, and even won Honorable Comment in a Societes des Artistes Francaise exhibition. In Ooi Kok Chuen’s obituary of her dilemma The New Sunday Times back issue Dec 10, 1995, art clerk Redza Piyadasa ranked her “a major artist”. “She was also important not only as top-hole woman painter, but a cougar of her generation… even encroach Southeast Asia.”