Rama IX Art Museum
6 Decades of Thai Art Exhibition
3rd Decade 1966 - 1975
Virtual Gallery Hall
1st Decade Exhibition Room 2nd Decade Exhibition Room 3rd Decade Exhibition Room 4th Decade Exhibition Room 5th Decade Exhibition Room 6th Decade Exhibition Room
1st Decade 2nd Decade 3rd Decade 4th Decade 5th Decade 6th Decade Home
Album
Artists
Virtual Gallery Hall

During the third decade of King Rama IX, reign politics within Thailand were full of change and uncertainty. These upheavals had a major impact on almost every aspect of Thai society. Former Prime Minister Gen. Sarit Thanarat (1957 - 1959) followed by Prime Minister Gen. Thanom Kittikhachorn used the power of military governments to suppress the rights and freedom of the people. The build up of public frustration led to unprecedented political protests during October, 1973.

Within this political crisis, a group of amateur and professional artists had joined together and instigated a significant art movement known as "Art for Life". Their works carried messages concerned with rural poverty, social problems, and political suppression using a daring mode of expression. They were usually straight-forward, roughly rendered and often emphasized repetitive subjects, executed within a short period of time. This movement faded rapidly. However, its bold and forceful presentation could never be dismissed.

Central to the movement was a group called the Artist Front of Thailand, established in 1974. Its most significant achievement was the creation of a controversial piece using huge billboards which was installed along the entire length of Rachadamnern Road . At this time many leading artists created social-comment art, among these were works by Sompote Upa-In and Chang Saetang.

At Silpakorn University, a number of artists had disassociated themselves from the democracy movement and successfully produced abstract works far in advance of their beginnings in the previous decade. This coincided with the growth of print-making which was accelerated by the opening of the graphic arts department at Silpakorn University in 1966. Works produced by these artists were shown at the National Art Competition and at other venues. The artists chose to represent nothing in their works, they are purely abstract, as is evident from the painting by Pricha Arjunka, the sculpture by Nonthivatn Chandhanapalin and prints by Sone Srimatrang and Ithipol Tangchalok.

In spite of these developments traditional art remained the main blood of modern Thai art in this decade, these artists pursued preservation and continuance of the old values inherited from the national treasures. We witness this trend in the powerful drawing of Thawan Duchanee and the Buddhist philosophical painting of Pichai Nirand. Perhaps, through the use of traditional subjects which embody transcendental and immortal ambience, the artists found a way to face the evil of the time.

The National Exhibition of Art was no longer the only venue where young artists could expose themselves. In 1974, the Bhirasri Institute of Modern Art was opened and the first Bualuang Painting Competition was held by Bangkok Bank. Though the Institute only lasted ten years, by the time of its demise it had created a new set of standards for the local art circle by showing the finest works by local and international artists. It also provided a chance for new artists to have their work exhibited without prejudice.

The above factors are evidence of the development of a free spirit in these individuals. This development accelerated after the October 1974 event, although the turmoil of differing political opinions left the decade with substantial conflict.

Permanent Exhibitions