The education and practice of modern art in Thailand began in Silpakorn University, the first Thai institution that taught western art. The academic foundations were laid by Professor Silpa Bhirasri, a noted sculptor from Italy. Most Thai artists at that time were his students and their works were created from the same basis as that of art institutes in Rome. They were also influenced by the trends and patterns of western art in the nineteenth and twentieth centuries. When Pratuang decided to become a free-lance artist, the atmosphere of artistic learning in Silpakorn University, the national exhibitions of artistic works as well as individual art exhibitions motivated him to seek more knowledge to improve his talents.

Many artists who proclaimed themselves disciples of Professor Bhirasri had influence upon Pratuang's self-development. He admired Fua Haribhitak for his dedication to the principle of art for art's sake, and Sawasdi Tantisuk for his perseverance and his ability to create modern artistic works. Paibul Suwannakuta, with whom Pratuang had an opportunity to get acquainted, guided him towards combining Nature with philosophy on life in artistic creation.

Pratuang's commencement on the artist career could not have occurred at a better time because bookstores in Bangkok began to have for sale art books from the West. He had ample chance to get accustomed to expression techniques, forms, styles, and essence of western art. These experiences enabled him to understand the universal values of modern art and to appreciate the beauty and expressions of western art. He became impressed by several great artists. Among them are Michelangelo, Leonardo da Vinci, and Botticelli---Italian artists of the Renaissance period; Peter Paul Rugens, the great Flemish artist of the sixteenth century; and Francisco Goya, the Spanish revolutionary artist of the eighteenth century.

During that time, Pratuang was also attracted to the art and philosophy of the East, especially that of India and China. He appreciated, in particular, the Indian philosophical teaching that man can achieve the ultimate value of his work only by abandoning all worldly attachments and concentrating on discovering truth and virtue. He was impressed by ancient Chinese paintings from which derive distinguished and unique forms of the eastern art that still have influence on present-day art initiatives.

He learned from intensive reading that art can portray the artist's deepest emotions, tell about traditional practices, describe the environment, and record historic events. Besides, he also had an insight into trends and developments of art from one period to another. He grasped the true values of both eastern and western arts and could determine the universal norms in artistic works.

Apart from reading he devoted himself to learning directly from Nature, which he considered the Ultimate Teacher--- the true source of knowledge an creative energy. Through observing Nature, he gained knowledge about physical and spiritual qualities as well as the relations between Nature and life. The understanding provided Pratuang with the energy and the freedom to express his experiences through works of art.

When observing Nature, Pratuang focused his attention on the Sun, the blazing source of light and energy; Mother Earth who bears and nourishes all living things; Fresh Air which sustains the whole world: Space, which belongs to the sky; and Water, which revitalizes all lives. These are components of Nature just as the four elements --- earth, water, air and fire are the components of all living things.

By continual observation and contemplation of Nature, Pratuang has come to the eternal truth that Nature is composed of physical and spiritual aspects which coexist and harmoniously evolve together. These twin aspects are also eternally united in human beings. A creation by man can never be acclaimed as an accomplishment if either of these aspects is lacking or poorly worked out.