Rama IX Art Museum
6 Decades of Thai Art Exhibition
2nd Decade 1956 - 1965
Virtual Gallery Hall
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The key figure in laying the foundation of modern art in Thailand during the early years of the present reign, Silpa Bhirasri, was followed by his students - who became art teachers and avant-garde artists. Many of these artists returned after studying abroad; Italy was usually the destination for Bhirasri's students but many attended art schools in the United States of America and Europe. On their return, these artists all contributed to the development of art in the second decade of the present reign.

After Bhirasri passed away mid-way through this decade, the National Exhibition of Art began to lose ground. The result of the competition - a competition which had always been highly respected - was questioned by a group of young, avant-garde artists during the 15th event. These artists turned to the private art galleries, which became alternative spaces for those young artists seeking refuge from participating in the National Exhibition of Art's competition. This rejection of the annual competition created an opportunity for these vibrant new venues to thrive.

This decade is marked by another significant event. His Majesty the King started painting constantly from 1959 to 1967, his paintings varied from realistic to abstract expression. Most importantly, he permitted the National Exhibition Committee to exhibit his works regularly during this period. This clearly reflects that the modern art phenomenon had been established firmly in Thailand with the sovereign of the Kingdom himself undertaking the act of creating and becoming an artist.

Many progressive artists of this period started to work towards abstraction both in the areas of painting and sculpture. By the end of the decade, most of their works took the form of pure abstract, for example, semi-abstract painting by Chalood Nimsamer, semi-abstract nude by Aree Soothipunt, abstract expressionist painting by Chang Saetang, and pure abstract sculpture by Chamruang Vichienkhet. The modes of work of these artists indicate their inclination towards art practice contemporary with that of the West.

During this decade there was also a group of artists who chose to combine traditional Thai methods and motifs with Western art techniques to convey their ideas. Examples of the work of this group are "Fisherman Village" by Damrong Wong-Uparaj, "Everyday Life" by Manit Poo-aree and "Festival No.2" by Prapat Jothaprasert.

The curtain closed on the second decade with a boom of art exhibitions during 1961-1965 and the downfall of the private art gallery business.

Permanent Exhibitions