Once upon a time, not long before the Siamese Revolution, there was a princess who was born in a palace but had to leave home, and who lived happily ever after as an artist in a faraway land.
The late HSH Princess Marsi Sukhumbhand Paribatra, the only daughter of HRH Prince Chumbhotbongse Paribatra and MR Pantip Paribatra, painted fantastical beasts and figures in a rich swirl of colours. Both before and after her death in 2013, Princess Marsi earned accolades in art circles for her "surrealiste-fantastique" style that implies Eastern philosophy in Western formalism. To allow the public to search for a true meaning of beauty through the princess' art, the Marsi Foundation in collaboration with the National Gallery will host the "Beauty And Ugliness: Aesthetic Of Marsi" art exhibition from Wednesday until Dec 23.
This major exhibition features 46 of the late princess' paintings, including four drawings (her works have been shown under different themes in 2010 and 2013). This new exhibition has been curated by Assist Prof Supachai Areerungruang, who chose to highlight the aesthetic interpretation in the princess' works through her paintings, drawings, personal belongings, books and private films.
The works of Princess Marsi are unique in their lavish, intricate details, with a mass of imaginary half-man, half-animal creatures that resemble fairy-tale beings, yet offer a deep philosophical reflection on life and death. The influence of literature, art history and mythology are prominent, and then there was the princess' beloved pets -- dogs, cats and birds -- as well as a recurrence of a mysterious, diminutive yet strong female form that seems like an embodiment of the artist herself.
"The princess developed her own style and gave much importance to details. She painted several layers and use the underpainting technique," said Supachai, who is lecturer of Srinakharinwirot University. "Sophisticated details can be seen from the way she painted animal fur and eyes. She controlled the tone and gradually added details. This is what art students must see and learn."
In this exhibition, the aesthetic of Princess Marsi is interpreted in four titles in the four major exhibition rooms: beauty, ugliness, chronology and art history, and truth.
The first room is called "Beauty" and takes visitors to a journey to understand and interpret beauty through Princess Marsi's use of symbols, such as flowers, pets, people and literature. The second room focuses on ugliness by showcasing artworks that symbolise death, such as skeletons and unattractive half-human-half-animal beings.
The third section, "Chronology Of Marsi And Art History", allows viewers to understand the princess' works in the context of art history looking at works linked to major incidents in her personal life, Thailand, Southeast Asia and the world. The fourth room is titled "Truth", meaning the princess spent her life in search of truth.
"The princess' works are regarded as [a mix of] surrealism, Renaissance and fantastic art. She focused on Renaissance art and studied art history," said the curator. "Her earlier works were inspired by artists such as Salvador Dali. After that, she developed her own style, which has a stronger hint of Chinese art. She once said she did not belong to any group."
Supachai notes that her works are in the same style as respected Thai masters such as Thawan Duchanee and Pratheep Khotchabua, who explored Buddhism in the surrealist mode. Her reflection of social conditions is in the same vein as Lawan Uppa-in. Meanwhile a young contemporary artist such as Yuree Kensaku, who uses bold colours and cartoonish fantasy elements, seems like a natural progression of the princess' formalism.
"She was a Thai artist, but she grew up in France and learned about art from visiting museums and talking to artists. While the princess was learning about surrealism from real paintings, a number of Thai artists studied with Silpa Bhirasri [the father of modern art in Thailand] based on drawings," Supachai said.
The next decade of her work saw her using figuration and the following decade saw the inclusion of animal and rock paintings. After the age of 50, she applied concepts about life and death by painting skulls and mystical animals in Greek mythology. The princess reflected on her own truth as well as the truths of life.
"We saw her sketchbooks and drawings with perspective tables. These things clearly tell that she studied and understood art clearly and learned by herself correctly and fast," the curator added.
MR Jisnuson Svasti, chairman of the Marsi Foundation, said: "I feel that the princess understood harmony between life and death. She was well rounded, had good spirits and was a little bit more than artistic. She was a perfectionist, but liked to live a simple life. It was in contrast between her life as a princess here and her life in a village over there [in France]."
Princess Marsi was born in Bang Khun Phrom Palace in 1931, shortly before the 1932 Revolution. After her first birthday, she accompanied her parents into self-exile in Java. She later went to school in England. She spent some time in Penang and Thailand where she attended the Mater Dei School, before leaving for Switzerland to complete her schooling. She obtained a diploma in arts and letters from the University of Cambridge, then returned to teach French and the history of Western art for a while at Chulalongkorn University. She then furthered her studies in French literature at the Sorbonne, where she received a doctorate.
She taught Far Eastern culture at the University of Madrid for two years, where she earned a doctorate in art and became fluent in Spanish. It was during this time that she became serious about her passion for painting, and refined her skills, which were entirely self-taught.
She spent most of her time in France and occasionally returned to Thailand. Around 2004, she suffered a stroke and was unable to paint anymore. The first art exhibition dedicated to her work was held after she returned to Thailand for medical treatment. She died in 2013 in her adopted home of Annot, France, at the age of 82.
"She liked painting since her childhood when her father HRH Prince Chumbhotbongse taught her. By the time she was 30, she began to learn on her own by studying the Renaissance masters. About 40 years ago, she started to have her own art exhibitions in France," MR Jisnuson said.
Supachai said: "The exhibition fits everyone and all age groups, especially art teachers, art students and art critics who wish to learn about new ways to interpret art as well as studying the timeline of her art and world events."
Apart from the exhibition, visitors can enjoy other activities to promote art studies, including workshops and talks on "Beauty And Ugliness" as appear in Princess Marsi's works. Highlights include the screening of a 30-minute video clip, shot at her home in Annot, as well as the Dec 1 fashion show and charity auction featuring a special collection of 15 outfits and some accessories, supported by Flynow III and inspired by elements in the princess' exhibited works. On the same occasion, the Marsi Foundation will give the princess' painting titled Parrot Fleur to the National Gallery.
Also available is a 150-page handbook on this exhibition featuring the princess' exhibited artworks as well as reviews by five critics.
Continually, the foundation grants about 30 scholarships per year to art students and also supports talented young artists who want to have exhibitions of their own. It is seeking co-operation and support from interested entities to open an art museum displaying the princess' works.
The "Beauty And Ugliness: Aesthetic Of Marsi" art exhibition will run from Wednesdayto Dec 23 except Mondays and Tuesdays from 9am to 6.30pm at the National Gallery on Chao Fah Road near Sanam Luang. Admission to the gallery costs 30 baht per person. Visit http://marsifoundation.org for more information.
