TAN Tee Chie 陈世集
Visual Arts,
Accession Number 001877
- Oral History Centre
Source
- 13
Total Reels
- Yap Wee Cheng
Interviewer
- 06:24:40
Total Running Time
- Mandarin
Language
Copyright Notice
All rights to the recordings and transcripts on this website, including the rights to copy, publish, broadcast and perform, are reserved. Written permission is required for any use. If you have any queries, please contact nas@nlb.gov.sg
Reel/Disc 1 of 13
Metadata
- 14 Apr 1997
Recording Date
- 00:30:50
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Family background. His artistic talent emerged early in life. Learning calligraphy in school. Prize-winning painting that helped him enter Nanyang Academy of Fine Arts (NAFA) later. As assistant teacher in NAFA. Life in NAFA in 1950s. How he learned to draw and paint; influence from various schools of artists. Influence from Chen Wen Hsi, Cheong Soo Pieng, Chen Chong Swee. His style of painting. Standard of art appreciation in Singapore. Development of Nanyang art style.
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Reel/Disc 2 of 13
Metadata
- 14 Apr 1997
Recording Date
- 00:30:04
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Further elaboration on development of Nanyang art style. Its effect on Nanyang Academy of Fine Arts (NAFA) for the past 60 years. Educational criteria of students in NAFA. His art exhibitions over the years. Development of art critics. Meaning of art exhibition in society. Writing art critics in 1970s. Importance of art critics in art scene. Nanyang art style among third generations artists.
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Reel/Disc 3 of 13
Metadata
- 14 Apr 1997
Recording Date
- 00:30:42
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Effect of lack of art critics in Singapore. Interaction between local artists. Importance to develop localized style of painting. Sketching as fundamental in painting. Role of painting for various occasions and different people in different classes. Reaction of his parents. How he learned to paint since young. Learning calligraphy in school. How he escaped to Singapore. Medical inspection at immigration. Family escaped to Singapore in two batches. Feelings for leaving hometown. Life on the shipping vessel. First impression of Singapore.
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Reel/Disc 4 of 13
Metadata
- 14 Apr 1997
Recording Date
- 00:30:48
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Elaboration on his first impression of Singapore. Visiting his hometown in past ten years. Unable to keep in touch with relatives in hometown after 1949. Getting first prize in art competition. Returning to school after Japanese Occupation. Life during Occupation. Continued to draw during Occupation. Impression of Yao Gou Hua. Entry requirement of Nanyang Academy of Fine Arts (NAFA) in 1950s. Part-time and full-time courses in NAFA. Why entry examination was proposed later; its execution. NAFA in St Thomas Walk; life then and today. Course fees and students population in 1950s. Artists who taught in NAFA. As assistant teacher in NAFA. How he became curriculum head in NAFA. Teaching focus of teachers in NAFA.
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Reel/Disc 5 of 13
Metadata
- 14 Apr 1997
Recording Date
- 00:30:13
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Learning from teachers after class. Teaching method of teachers. How teachers amended students' paintings. Examination in Nanyang Academy of Fine Arts (NAFA). His painting subjects. Out-door painting. Importance of observation before painting subject. Impression of Lim Hak Tai. How Lim established NAFA with help of students. Motto of NAFA. How first generation artists developed Nanyang art style. Declining enthusiasm developed style among young generation artists. Why there was no theatrical backing for style. Important to localize formation in painting. Effect of changing landscaping on development of style. Sense of identity in search for style.
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Reel/Disc 7 of 13
Metadata
- 15 Apr 1997
Recording Date
- 00:29:19
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Nanyang Academy of Fine Arts (NAFA)'s move to Sophie Road in 1980s. Reason for financial crisis in 1970s. Efforts to develop NAFA. New image that was established in 1980s. Changing of Chinese registered name of NAFA; its significance. Administrative changes during Goh's time. Part-time teachers as main form of employment. Board of Directors of NAFA. Various principals of NAFA in 1980s and 1990s. Linked with other overseas universities. Government grants.
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Reel/Disc 8 of 13
Metadata
- 15 Apr 1997
Recording Date
- 00:29:54
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Subjects he taught in Nanyang Academy of Fine Arts (NAFA) and how he prepared for lesson. Total lesson time for full and part time teachers; remuneration package for staff. Why he continued to teach in NAFA after retirement. Why he stayed in NAFA for 46 years. Changes of students' attitude throughout the years. Competition with La Salle. Career development of NAFA's graduates. Conflicts between teachers with different artistic views. NAFA Alumni Association. Reason for low participation rate of young generation of NAFA alumni. Annual exhibition of association. Charity exhibition of Alumni that helped NAFA to overcome financial crisis in 1970s. Why he choose to paint realistically, his choice of painting subjects. Creating his own style in 1970s.
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Reel/Disc 9 of 13
Metadata
- 15 Apr 1997
Recording Date
- 00:29:40
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Further elaboration on how he created his own style. Why he discouraged artists from doing abstract solely. Commercial value of abstract art. His representative work over the years. Things to consider before breakthrough in painting. Benefits for maintaining single style of painting. Value of works of older artists. Ways that help to increase value of paintings. Presence of auction company in Singapore. How he priced his paintings. Young artists who prized their works higher than by older artists. Preparation for solo exhibition.
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