If we consider Le Pho's work over his life (1907-2001), three periods appear, each with a distinct history and style. The first period from the late 1920s until 1945 is qualified as Le Pho's early works. The second period, 1946-1962, is named the Romanet period after his representing gallery, Galerie Romanet; and finally, the Findlay period from 1963 to his death in 2001, again named for his gallery, Wally Findlay Galleries from the USA.

Each of these three periods represent very distinct styles, and their respective monikers also indicate aesthetic and medium differences, not only in terms of gallery representation or chronology.

During the first period, we can see the emancipation of a very young and brilliant talent: already his work created at the "Ecole des Beaux-Arts" in Hanoi under the supervision of Victor Tardieu (1870-1937), was successful and recognized by collectors and institutions. Not to mention his iconic silks, subtle in both composition and tones, made after his first visit to Europe including Paris (1931-1932). Or his few lacquers, technically beautiful, though which he had to abandon due to an allergy to lacquer. Regretfully this period of enthusiasm, creativity, discovery of new techniques and new countries was frozen during the Second World War.

The Romanet period is charged with the loss of stability in human and international events: Le Pho's silk employed the same techniques as before but his colors shifted as if, through more intensity, the work needed to narrate instead of being just descriptive; the painter became more conflicted; the Confucian softness gave way to the harshness of the times. The memory of the war years, Nazi
barbarism, combined with the state of civil war in Vietnam, the decolonization and its aftermath: so many questions troubled the painter who finally migrated to Paris for good in 1937. Romanet was the name of the
French gallerist who always advised Le Pho and helped him exhibit his work for many years.

In 1963, Le Pho (with his friend Vu Cao Dam) signed a near-exclusive contract with the well known North American gallerist, Wally Findlay. Findlay re-orientated the style of the painter, first, in encouraging him towards certain trends which he developed in the early 50s and, secondly, by modernizing his oeuvre.

This collaboration bore fruit and Le Pho employed bright colors as he continued his work showing his long-lasting admiration for Matisse. This change also showed through the use of strong brushstrokes on large oils on canvas where this new strong color was prominent. Le Pho pursued his art with much
enthusiasm as he was able to paint his favorite themes, such as the Vietnamese ladies or flower bouquets (always painted as just freshly cut) and, also, because the contract allowed him to access the American market, a dream for all European and Asian artists. The Findlay period lasted close to twenty years, until
Le Pho was victim of a terrible road accident after which he was never able to paint again.

I would like to mention two personal memories: Le Pho, in his apartment at Rue de
Vaugirard in Paris, would allow his admirers to photograph him with his paint brush in the right
hand and his palette in the left hand: but the painting behind him remained unfinished year after yearK Also, one day in 1995, I remember asking him: "Master, which is your preferred period?"

With no hesitation, he answered "My Findlay period !"