216:, Maung Maung Gyi found himself a catalyst in the conflagration. The city of Mandalay was curfewed and two provocateurs, a Shwe Pe and Shwe Sin, were put on trial behind closed doors. Photographs of the accused were forbidden; however, Maung Maung managed to view the court proceedings accompanying a Burmese reporter and memorized the faces of the accused and then sent their portraits to the newspapers where they were printed. According to Nyan Shein, “the massacre spread through the whole of Burma… Therefore the
307:. After returning from England, Maung Maung Gyi is said to have given Saya Aye instruction in Western painting in exchange for instruction in Traditional art. However, evidence of Traditional techniques hardly exists in Maung Maung Gyi’s work, and while Maung Maung Gyi may have left an influence on Saya Aye in his Western-style works, it is clear from a painting dated 1909 by Saya Aye, entitled
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little biographical information about him beyond the fact that he was a 19th and 20th century painter. One account of Maung Maung Gyi’s life records that he was a companion painter of B.H. Wiles when Wiles painted in Burma. This account also maintains that Maung Maung Gyi’s paintings were marketed in
Germany.
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Maung Maung Gyi reached
England and studied there for two or three years. It is not known what school he attended, but his main studies seemed to have been agriculture, as well as art and chemistry. There is some possibility that during his time in England he may also have had to work as a dishwasher
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whom he personally encountered in Burma or whose works he saw there. In particular, one
British painter who may have influenced him is B.H. Wiles, who published reproductions of his paintings of Burma in India and England. B.H. Wiles work has appeared in Christie’s auctions in recent years but with
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Another notorious incident involving Maung Maung Gyi is a quarrel that he had with one of his superior
British officers in the agricultural department, alleging punching the man and subsequently quitting his job as an agricultural officer for good. This event may have occurred prior to the incidents
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on page 146 of Talbot Kelly’s book. This is not to suggest by any means that Maung Maung Gyi had a habit of copying works from other painters; rather, as many painters of both the
Traditional and Western Schools did in Burma in the early days, he copied the works of painters he admired in order to
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to study art. The events which followed, attributed to the year 1906, have become a part of
Burmese folklore. He allegedly went to Rangoon harbor to find a ship which would carry him to England and asked the captain of one ship there for a job as a seaman. While talking to the captain he drew his
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As a youth who had traveled to
England in such a daring way, Maung Maung Gyi became famous in Burma, as a model to young Burmese youth who were so provincial and timid that they often feared leaving their villages. He became notorious in other respects. Although he developed a passion for
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Maung Maung Gyi lost his mother in early childhood and so his father sent him to Yangon High School as a boarding student. There he exhibited an interest in drawing, but he was temperamental and one day quarreled with a teacher and quit school. He then decided to travel to
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of the Indian-Burmese riots above, attributed to the year 1938, for in the following year, 1939, when the State School of Art and Music opened up, he became an instructor there. This was a prestigious position. The principal of the school was
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Maung Maung Gyi is known to have owned a large collection of paintings, but whether these paintings were strictly his own works or included works which he had collected by other painters in Burma is not known. In any event, during
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In his last years, Maung Maung Gyi acquired heart disease. He died in a small village in Upper Burma. His son, Kin Maung (Yangon)—not to be confused with Kin Maung (Bank)—also became a well-known painter in Burma.
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in
Rangoon for two years. Following his studies at St. Paul’s, he became an agricultural officer for the colonial government, which offered him the chance to tour the country, painting its scenes in his free time.
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portrait, and the captain was so taken with the youth’s portrait of him and his adventuresome spirit that he agreed to take him on board as a seaman. Maung Maung Gyi was about 16 years old at that time.
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Western-style painting, he had a great resentment of his colonial masters, especially
British officers. In 1938, when a Burmese-Indian massacre or riot broke out in
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Although Maung Maung Gyi is said to have studied art in
England, his greater influences in painting may actually have come through exposure to
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288:, the British painter who traveled throughout Burma in the early 1900s, producing a large tome of his collected scenes of Burma in his book
292:(1905). One of the four paintings in the Pitt Rivers Museum collection done by Maung Maiung Gyi is an exact replica of a painting entitled
315:, that Saya Aye must have already made large steps on his own to learn Western techniques before meeting Maung Maung Gyi.
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Not many works by Maung Maung Gyi have survived. Four of his watercolors are currently in the collection of the
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Maung Maung Gyi is said to have influenced and been influenced by the early artist of the Traditional School,
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owns a painting or paintings by Maung Maung Gyi but if so, the work has not been on display in recent years.
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to make ends meet. It seems not to have been an institution of higher learning for when he returned to
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had to curfew the whole country.” These events are difficult to corroborate, but Cady in his
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Andrew Ranard (2009). "Early Pioneers of the Western School: British and Burmese".
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For Burmese martial artist that introduced Bando into the United States, see
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style. The plein air mode of painting later became very common among
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Amsterdam, 19th Century European Pictures, Watercolours and Drawings
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mentions anti-Indian riots occurring throughout Burma in 1938.
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painter who traveled about Burma capturing its scenes in the
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Maung Maung Gyi’s work also shows irrefutable influence of
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On Burmese Painters, Sculptors, and Architects, Vol. 1
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Maung Maung Gyi’s influence in Burma was largely as a
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London, Exploration and Travel with Visions of India
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Nyan Shein (1998). "U Maung Maung Gyi (1890–1942)".
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236:and Maung Maung Mya, were teachers at the school.
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415:(in Burmese). Sitthidaw Sarpay. pp. 114–116.
264:(2006) by Hla Tin Htun, and it is said that the
262:Old Myanmar Paintings in the Collection of U Win
537:Burmese Painting: A Linear and Lateral History
564:. Cornell University Press. pp. 393–398.
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582:(in Burmese). Yarbye Press and Kyibwa Press.
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207:Personality and further imbroglios
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232:, and to other painters of note,
330:painters such as Saya Saung and
505:The History of Burmese Painting
503:Ko Ko Naing, (Yamanya) (1997).
311:, now in the collection of the
653:Burmese people of World War II
200:St. Paul’s English High School
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648:20th-century Burmese painters
599:. 2000. p. 246, Lot 343.
290:Burma, Painted and Described
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309:Burmese Gentleman and Wife
266:National Museum of Myanmar
180:Early history and training
164:; 1890–1942) was an early
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562:A History of Modern Burma
222:A History of Modern Burma
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18:Maung Maung Gyi (painter)
313:Fukuoka Asian Art Museum
294:Express Steamer Passing
580:Modern Burmese Painting
161:[màʊɰ̃màʊɰ̃dʑí]
578:, (Ludu Daw) (1997).
560:John F. Cady (1958).
272:Influences and legacy
334:in his early works.
643:Artists from Yangon
374:Robert Talbot Kelly
286:Robert Talbot Kelly
369:Saya Aye (painter)
353:Pitt Rivers Museum
347:Museum Collections
254:Pitt Rivers Museum
546:978-974-9511-76-3
471:. pp. 84–87.
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41:Burmese name
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638:1942 deaths
633:1890 births
328:Upper Burma
110:Nationality
627:Categories
612:Christie's
595:Christie's
320:watercolor
166:watercolor
157:pronounced
137:watercolor
45:given name
324:plein air
134:Plein air
32:Maung Gyi
363:See also
305:Saya Aye
214:Mandalay
130:Movement
124:Painting
39:In this
616:. 1998.
332:Ba Thet
300:learn.
296:Sagaing
230:San Win
218:British
187:England
174:Burmese
149:Burmese
114:Burmese
93: (
77:Rangoon
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357:Oxford
258:Oxford
234:Ba Kyi
170:Yangon
43:, the
380:Notes
338:Death
240:Works
196:Burma
576:Amar
541:ISBN
95:1943
91:1942
88:Died
73:1890
70:Born
47:is
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