雋永風華 Timeless Elegance by Liang Gallery

Timeless Elegance

Timeless Elegance In Praise of Love

台

灣

美人畫

台灣美人畫摸索於學院和在野之間李梅樹冰果店

文

李欽賢

1974 年油彩畫布 60P

一直以來，學院派與權威總是劃上等號；但是在野派的反保守作風，卻能孕出新的活力與創意。台灣西洋畫家常處在這樣的夾縫中摸索。

尊彩藝術中心史無前例的大手筆，推出女性與知性之美的專題展，集前輩大師的女性圖像於一堂，誠屬一場空前的美術饗宴。

美人畫是東方繪畫�項的一種，像中國的仕女圖或日本浮世繪；在西方則有文藝復興盛期，將聖母圖典世俗化，終而出現最完美的女性圖像《蒙娜麗沙》之登峰造極之作。

十七世紀荷蘭畫家維梅爾（ Johannes Vermeer1632–1675），又塑造了常民婦女高雅的生命氣質，到了十九世紀的印象派畫家的女性形象，已經把女性融入現實生活之中了。

Essay

台灣西洋畫家大致上是從印象派理念出發的，體態優雅，面容可親的女性圖像，也在台灣近代美術史上自成一格。由於是近代性的表現手法，畫風不拘泥，用筆、用色崇尚自由，但看台灣畫家的個人風格，可以發現到台灣畫家的女性圖像，多少有處在學院與在野之間的掙扎。

一、學院派的異端

一九二七年陳植棋就讀東京美術學校尚未畢業，他返台結婚，隨後攜新婚妻子，同赴東京度蜜月，同年創作了一幅《夫人像》。一看即知是民族色彩相當濃厚的作風，以撐開的大紅新娘禮服作背景，臉部腮紅極富野獸派特徵。陳植棋夫人像

創作本圖的一九二七年，野獸派畫風已經由年輕畫家從巴黎帶回日本。陳植棋攀越學院派門牆，嚮往在野派的奔放，其實是與他的本性相符的。因為陳植棋是先遭到台北師範的退學處分後，才以同等學歷考上東京美術學校。退學的理由是主

1927 年油彩畫布 30P

導學生罷課，試問，一名青年學生有膽識發起罷課行動，可以見之他天生藏在骨子裡的叛逆性，必然也是學院派的異端。所以不論筆觸、構圖、設色或一時起意的神來之筆，都有脫學院的大膽嘗試。

陳植棋家境富裕，天生豪爽俠氣，對來東京求學的同鄉如李石樵與洪瑞麟等人十分照顧，在同儕間頗受敬重。可嘆在東京美術學校即將畢業之際，卻罹患重病，李石樵和李梅樹等人都義不容辭，悉心照顧病中的陳植棋。洪瑞麟是他們之中的小老弟，當陳植棋最後一趟抱病前往東京參展時，洪瑞麟一路護送到底。

洪瑞麟朝妝

李石樵是台灣畫家中，處理群像的高手；洪瑞麟則擅於表現市井人物之生活作息，以一九三四年的「朝妝」一作來看，業已顯露出東方情調的野獸派手法。

1934 年油彩畫布 30F

Timeless Elegance In Praise of Love

台

灣

美人畫

二、與學院派絕緣的女體像

陳澄波的許多裸女油畫，以及他的裸女素描習作，幾乎找不到學院的痕跡，此也是台灣女性圖像的異數。陳澄波以放縱的、不修飾的筆意，任令女體的立姿、坐姿或舞姿，旨在表達東方女子的本質，而不受限於歐風肢體美學的框架。

李梅樹

曾經留洋的日本畫家，當他們回國後，一旦重拾裸女創作，必逢找不到西方模特

小憩之女

兒標準身材的窘境，最終總會以造型的本事，獲致東方美學的信心。國人比較熟

1935 年

知的日本洋畫家梅原龍三郎，最能把握東方女子的造型身影；陳澄波的裸女圖像，

油彩畫布 100F

也是基於造型原理，獨創陳澄波風格的知性之美。

三、從學院派延伸的真實人生

李梅樹一貫的寫實作風，從早期的《小憩之女》到晚年的《冰果店》，由單一圖像至生活群像，李梅樹的女性頌歌，愈來愈貼近常民百態之實錄。李梅樹藝術是生活的放大鏡，從表情、神態、服飾等等，無不是研究時代流行趨勢的真實寫照。其中包括河邊浣衣系列，那是每日清晨的時間點、例行作息的常態性、與時代特徵的美學觀，共同構築起來的三次元空間。因為這樣的浣衣場景，已經隨著時代劉啓祥

進展，幾乎不可能重現了。一九七二年李梅樹筆下的《河岸清晨》，讓我們體會

白衣少女

到台灣的黎明、台灣的常民與上一代人，交織成為時光隧道的畫面。 1986 年油彩畫布 30F

四、揮不去的法蘭西情調

楊三郎和劉啓祥，是少數到過巴黎的第一代台灣西洋畫家。巴黎印象派旗手雷諾瓦（ Pierre-Auguste Renoir 1841 － 1919 ），他的畫作經常流露著布爾喬亞

Essay

（ Bourgeoisie）的幸福感，劉啓祥的《白衣少女》和楊三郎的《拿書少女》，也都洋溢著幸福的氣氛，這兩幅畫作，皆具有學院派要求的穩健技法，唯筆觸和背景又有突破於院藩籬的企圖心，看似矛盾卻又調和，兩者皆有一個共同點，就是揮不去的法蘭西情調。

楊三郎的《母與子》，袒胸哺乳的畫面，在台灣是極少見的題材，卻也是傳達母愛最溫馨的畫面；這件很少公開的畫作，恰在頌揚慈暉的五月展出，更是難能可貴。

五、戰後台灣雕塑巨臂

蒲添生以雕塑的人體像，傳達其所隱喻的《春之光》、《懷念》等題意之立體雕

蒲添生春之光

作，完成了一系列台灣雕塑的肢體美學。直到一九八〇年代，轉而投向運動系列的造型新款，是他發現每回奧運會，皆有特別設計的運動諸項目之各種象形圖案，

1958

這觸發了他欲以立體雕塑來表現新造型的衝動。從運動員的姿態，重新發現肢體

51×48×175cm

銅

另�之美，從而變成蒲天生雕塑創作的新元素，也算是他晚年腦力激盪之一環。

六、畫壇獨行俠

正迎接百歲的高壽畫家張義雄，半輩子生涯都旅羈海外。他出國前有一段時間，在台北第九水門邊設墊授業。張義雄以獨擅素描的真本領，吸引不少師大美術系的學生前來習畫，在大家的口碑中，皆公認張義雄畫室是師大的「校外美術研究所」，陳景容即是其中之一的弟子。楊三郎拿書少女

張義雄、陳景容，若再加上陳德旺，三位畫家，三種風格。張義雄晚年重返浪漫，陳德旺堅持無我之境，陳景容則永遠幽古獨行，卻各在藝海浮沈中，闖出各人的一片天。

油彩畫布 50F

Taiwanese Paintings of Beautiful Women

Timeless Elegance In Praise of Love

Taiwanese Paintings of Beautiful Women – An Exploration between the Academic and the Folk Written by Li Chin-Hsien

Lee Mei-Shu Cold Drink and Fruit Shop

Since long time ago, academism has always been associated with authoritarianism while the anti-conservatism of folk art has continuously developed new creativity and vitality. Between the academic and the folk is where the Taiwanese artists have been struggling within to work

1974

on their Western art practice.

Oil on Canvas 60P

Liang Gallery makes unprecedentedly great effort to organize a feature exhibition about women and their intellectual beauty. The exhibition presents portraits of beautiful women painted by important art masters, offering an unexampled feast of art.

Painting of beautiful women, such as woman portrait in China or ukiyo-e in Japan, is a genre of Eastern painting. In the Western Renaissance, the portraits of Madonna were often secularized as it is in the most perfect female portrait — The Mona Lisa.

Jan Vermeer, the Dutch painter in the 17th Century, captured the noble quality of ordinary women. Until the 19th Century, impressionist painters had already included women in the daily-life depiction.

The Taiwanese artists who work on Western painting generally begin with Impressionism. Therefore, portraits of women with elegant figures and gentle faces have become a unique style in Taiwan’s modern art history.

Such a modernist expression style features an

unrestrained use of strokes and colors. However, each Taiwanese painter’s personal style still demonstrates their struggle between the academic and the folk art in their female portraits.

Essay

I. The Heresy of Academic Art In 1927, Chen Jr-Chi returned to Taiwan to get married before he graduated from Tokyo University of the Arts. Later, he went back to Tokyo with his newly wed wife for honeymoon. In the same year, he painted Woman Portrait. The folk art style features an unfolded scarlet red wedding gown as its background while the blush is very Fauvism-like.

In 1927, the year when this painted was created, Fauvism had been introduced to Japan from Paris by young painters. Chen Jr-Chi followed his inborn calling to escape from the academic world and to run toward folk art. It was not a surprising pursuit for him. Before Chen JrChi came to Tokyo, he was forced to quit National Taiwan Normal University for that he organized a student strike. Later, he entered Tokyo University of the Arts with equivalency certificate. It surely proved his rebellious nature as a young student who had the gut to start a strike like this as well as to become the heresy of academic art. The strokes, composition, his use of colors, or the inspirational touch all demonstrate his bold approach beyond the

Chen Jr-Chi Woman Portrait

academic limitation. 1927

Chen Jr-Chi came from a rich family, and he had a bold and generous personality. Chen always took care of his fellow Taiwanese artists such as Lee Shih-Chiao and Hong Rui-

Oil on canvas 30P

Lin who also came to Tokyo to study. His companions thus respected him very much. Unfortunately, Chen became very sick when he was about to graduate from Tokyo University of the Arts. Lee Shih-Chiao, Lee Mei-Shu and other artists all carefully took care of Chen. Hong Rui-Lin was the youngest one among them. When Chen Jr-Chi went to Tokyo to exhibit his work for the very last time in his illness, Hong stayed all the way with him.

As a Taiwanese painter, Lee Shih-Chiao was very good at dealing with group portraits. Hong Rui-Lin was talented at portraying ordinary people’s daily routine. His Morning Toilette in 1934 well represented an oriental fauvism-like style. Hong Rui-Lin

II. Portraits of Female Bodies Different from Academic Art In many of Chen Cheng-Po’s oil paintings or sketches of naked women, one can hardly spot

Morning Toilette 1934

the trace of academic practice. Such a characteristic is also rarely seen in Taiwanese female

Oil on canvas

portraits. Chen Cheng-Po’s unrestrained and unembellished strokes perfectly capture the

30F

Taiwanese Paintings of Beautiful Women

Timeless Elegance In Praise of Love

essence of Asian women while these sitting, standing, or dancing females are depicted a style in which is beyond the European physical aesthetic.

For those Japanese painters who had studied in the Western society, once they returned to Japan and started to paint naked women, it would become a problem to find models with “standard figure” like those Western models. They thus had to create a different silhouette which was closer to the Eastern aesthetics. Ryuzaburo Umehara, the Japanese painter famous in Taiwan’s art society, was one of the examples to capture the silhouette of Asian women. Lee Mei-Shu

Chen Cheng-Po followed the similar technique to portray naked women, creating his unique

Resting Lady

style of intellectual beauty.

1935 Oil on canvas 100F

III. The Real Life Extended from the Academic World Lee Mei-Shu’s realistic style has been consistent since his early work Resting Lady to the works in his late stage such as Cold Drink and Fruit Shop. From the portraits of single person to the group portraits, Lee Mei-Shu’s portrayal of women becomes closer and closer to ordinary people’s daily life. Lee’s art is like the magnifier of life. Its realistic representation of these women’s expressions, postures, and clothing helps us study the fashion trend of that period of time. His “Clothes Washing at Riverbank” series creates a three-dimensional world constituted by particular time (early in the morning), regularity of the routine, and the aesthetics which corresponds with the contemporary time. Such a scene of “Clothes Washing at Riverbank” is no longer seen with the passing of time. Therefore, Lee Mei-Shu’s Morning of Riverbank in 1927 shows us the life of the older generation and the pretty dawn of early

Liu Chi-Hsiang

Taiwan.

Young Girl in White Dress 1986

IV. The French Touch Remains Yang San-Lang and Liu Chi-Hsiang were two of the few Taiwanese painters who had been to

Oil on canvas

Paris. Like Pierre-Auguste Renoir, the Parisian impressionist painter, whose paintings are filled

30F

with a Bourgeois-style of bliss, Liu’s Young Girl in White Dress and Yang’s Girl with a Book are both permeated with the sense of happiness. These two paintings demonstrate the technique of solid academic training, but the strokes and the backgrounds reveal the artists ambition to break away from the convention. The images seem contradictory but yet harmonious. The one thing in common between the two works is the French touch which cannot be ignored.

Essay

The breast-feeding scene in Yang San-Lang’s Mother with Child is rarely seen in Taiwanese paintings, but it indeed expresses the precious love of a mother. This work is seldom exhibited in public, and it is a great chance to show the painting in May – a month about mothers’ love.

V. A Strong Arm of Sculptural Art in Post-War Taiwan Paul Tien-Shen’s human sculptures express symbolic themes such as Light of Spring or Cherish, through which he demonstrates the physical aesthetics in a series of sculptural artworks. Until the 1980s, he switched his focus to the sports series for that he had noticed that each Olympic Game would design its own pictograph for the sport games. The discovery inspired him to adopt sculpture to represent the alternative beauty of athletes’ physical movements. It thus became the new element of Paul Tien-Shen’s sculptural art and the characteristics of his later works. Paul Tien-Shen

VI. The Lone Warrior in the World of Art

Light of Spring

Chang Yi-Shiung, the artist who is about to celebrate his one-hundredth birthday, has spent

1958

half of his life in the foreign countries. Before he left Taiwan, he had started his own private

Copper

class at the Water Gate Nine in Taipei for some time. His drawing skill attracted many art

51×48×175cm

students of National Taiwan Normal University to study with him. People even described him as “the graduate school of art outside school.” Chen Ching-Jung was one of his students as well.

Chang Yi-Shiung, Chen Ching-Jung, and Chen Te-Wang – the three painters had three different styles. Chang Yi-Shiung returned to Romanticism in his late stage, Chen TeWang insisted to stay in the selfless realm, while Chen Ching-Jung chose a secluded path. However, the three of them all created their own worlds of art.

Yang San-Lang Girl with a Book Oil on canvas 50F

Timeless Elegance In Praise of Love

關

於

陳澄波

陳澄波出生於 1895 年。 1918 年自台北師範學校畢業，被分發任教於嘉義第一公學校，後調職水上公學校。因渴望專職創作， 1924 年完成義務教學後，毅然辭去教職赴日，進入東京美術學校圖畫師範科就讀。

1926 年，以《嘉義街外》入選第七回「帝展」，為台灣油畫家入選第一人，震動�島。1927 年，又以《夏

日街景》再度入選。同年，本科結業，再入研究科深造。1928 年，《龍山寺》獲第二屆「台灣美術展覽會」特選。 1929 年，自東美畢業後前往上海，在新華藝專、昌明藝專、藝苑研究所等校任職；此外，又任上海市�國訓政紀念綜合藝展審查員、國民政府日本工藝考察團委員、上海市紀念訓政�國美展審查委員等職；作品《清流》代表中華民國參加芝加哥世界博覽會，同時入選�國十二代表畫家等。其間，作品多次入選「帝展」及「台展」特選，並於 1932 年獲「台展」免審查展出資格。任職上海期間，除了教學與創作，亦積極參與「決瀾社」等新派畫家活動。他生性活潑，與傳統國畫家和新派畫家均有

陳澄波 Chen Cheng-Po

1895~1947

深厚交誼。唯 1932 年，「一二八」上海事件後中日交惡，1933 年，陳澄波因其日僑身份被迫返台。其後�心投入台灣的藝術發展，與同好組成「台陽美術協會」，舉辦年展及�島巡迴展。1945 年二戰結束，國民政府接收台灣，1947 年初即爆發「二二八事件」，他代表市民前往水上機場協商，卻遭扣留羈押；並於 3 月 25 日上午遇難身亡。

作為台灣第一代西畫家，陳澄波幾乎可以和「台灣美術」劃上等號。不僅因為他是台灣畫家中入選「帝國美術展覽會」的第一人，也因他對藝術創作的投入與堅持，以及對台灣美術運動的推進與貢獻。

About

Chen Cheng-Po was born in 1895 and in 1918 he graduated from National Taiwan Normal University. He worked as a teacher in his birthplace city, Chiayi, Taiwan, but eventually due to his passion in gaining a career in arts, he went off to study in Japan and eventually received western academism in Tokyo Art Academy. His work â&#x20AC;&#x153;Street of Chiayiâ&#x20AC;?was accepted by the 7th Imperial Art Exposition of Japan (1926), which was the first of all Taiwanese artists. After his graduation in 1929, he became a professor of art in Shanghai, China. His work was highly honored by the 1st National Art Exposition of China (1931), and attended the World Fair in Chicago, USA. He eventually returned to Taiwan in 1933 due to political turmoil in China and founded "Tai-Yang Art Association" in 1934, which became the primary art community in Taiwan.

Chen devoted his life to education and creation, and was greatly concerned about the development of humanist culture in Taiwan. Due to his love for Taiwan, he traveled throughout the island, painting places from Tamsui in the north to Maobitou in the south. The paintings depicting Chiayi City, his birthplace and creative inspiration, are the highlights of his work. Unfortunately he was murdered as a result of the 228 Incident. Chen was not only devoted to the improvement of his own painting, but also to the promotion of the aesthetic education of the Taiwanese people. His contribution to the art history of Taiwan is priceless.

Timeless Elegance In Praise of Love

年

表

陳澄波 Chen Cheng-Po 1895~1947

1895

2月

生於嘉義，不久喪母

1907

4月

嘉義公學校（現 ˙ 嘉義市崇文國小）入學

1909

5月

父守愚逝世

1913

3月

嘉義公學校畢業

4月

台灣總督府國語學校公學師範部（現 ˙ 臺北市立教育大學）入

3月

光風會展（15 日至 30 日）入選

學，接受石川欽一郎的指導，開啟學習西洋美術的熱情

7月

個展於廈門旭瀛書院（24 日至 30 日），40 件（預定 8 月 10 日

1917

3月

1928

1月

14 日上台北，預定赴淡水和北投寫生；23 日，返回東京

2月

第 5 回白日會展（4 日至 19 日）入選 1930 年協會第 3 回展（11 日至 26 日）第 5 回槐樹社展（2 月 19 日至 3 月 19 日）入選

自廈門經上海回東京，之後回台，9 月 1 日至 3 日台南赤陽會展後，

台灣總督府國語學校公學師範部畢業

前往台北）

就任嘉義公學校訓導 1918

4月

與嘉義南門的名門張捷女士結婚

1919

9月

長女紫薇出生

1920

4月

轉任水堀頭公學校湖子內分校

1924

3月

依願退職

10 月

參加第 2 回台展（10 月 27 日至 11 月 6 日）入選

4月

東京美術學校圖畫師範科入學

11 月

《龍山寺》與黃土水的彫刻《釋迦出山》一起被陳列於寺內的會

9月

七星畫壇第 3 回展（8 日至 11 日）前往台北，描寫萬華龍山寺（12 日至 28 日）

議室

次女碧女出生 1925

6月

第 2 回白日會展（6 月 21 日至 7 月 10 日）入選

1926

7月

第 3 回白日會展（3 日至 5 日）入選

8月

與陳植棋等人創立「七星畫壇」，

前往東京；12 月末回台 1929

1月

第 4 回本鄉美術展（1 日至 30 日；翌年改稱「春台展」）入選

3月

第 6 回槐樹社展（3 月 16 日至 4 月 4 日）入選東京美術學校研究所畢業

第 1 回展覽於臺北博物館（28 日至 31 日）

1927

10 月

第 7 回帝國美術院展（帝展，10 月 16 日至 11 月 20 日）入選

4月

擔任教育部主辦的第 1 回全國美術展覽會審查員並展出作品

12 月

長男重光出生

6月

西湖博覽會展出 4 件作品

2月

太平洋畫會第 23 回展（12 日至 27 日）入選

7月

轉任新華藝術大學西畫科主任

3月

第 8 回中央美術展覽會（11 日至 31 日）入選

8月

參加「赤島社」的創立，第 1 回洋畫展（8 月 31 日至 9 月 3 日），展出 3 件作品

東京美術學校畢業，入同校研究所西洋畫科繼續學業第 4 回槐樹社展（3 月 30 日至 4 月 14 日）日選

10 月

第 10 回帝展（10 月 16 日至 11 月 20 日）入選

4月

第 4 回白日會展（3 日至 15 日）入選

11 月

參加第 3 回台展（16 日至 25 日）入選

6月

回台個展，展出 61 件作品（6 月 27 日至 6 月 30 日於博物館

9月

10 月

2月

第 7 回槐樹社展（2 月 26 日至 3 月 14 日）入選

展出，7 月 8 日至 7 月 10 日於嘉義公會堂展出）

3月

第 2 回聖德太子美術奉贊展（3 月 17 日至 4 月 14 日）入選

與廖繼春等人組成「赤陽洋畫會」

4月

應王一亭之聘，兼任 1930 年春創立之昌明藝術專科學校就讀

第 1 回展覽共 20 餘件作品，於台南公會堂展出（1 日至 3 日）

5月

第 2 回赤島社展（9 日至 11 日）參展

七星畫壇第 2 回展（3、4 日）

7月

由上海回台

第 8 回帝展（10 月 16 日至 11 月 20 日）入選

8月

接家人到上海

1930

75 件作品於台中公會堂個展展出（16 日至 17 日）

參加第 1 回台灣美術展覽會（簡稱「台展」，10 月 28 日至 11

應上山滿之進前總督之囑，北赴東海岸奇里溪寫生

月 6 日）入選 12 月

與林玉山共同舉辦書畫展於嘉義公會堂娛樂部台南洋畫會「綠榕會」創立，與廖繼春等一起被聘為創作指導

福建省美術展覽會入選

9月 10 月

被任命為日本美術工藝的特別考察委員任藝苑繪畫研究所（1928 年創立至 1934 年閉校）名譽教授

Curriculum Vitae

參加第 4 回台展（10 月 25 日至 11 月 3 日）入選 12 月 1931

1939

兼任昌明藝術專科學校師範科主任

3月

新華藝專的展覽會（新華畫展）出品

4月

第 3 回赤島社展（3 日至 5 日），5 件出品

1932

參加第 5 回台展（10 月 25 日至 11 月 3 日）入選

11 月

三女白梅出生

1月

參加第 7 回春台展（10 日至 30 日）入選

2月

將家人從上海送回台灣

6月

由上海回台

9月

參加在上海梅園酒家舉行的「決瀾社」（1935 年解散）第一次會規制定會議，並出品第 1 回展覽會（1932 年 10 月）

10 月 1933

1940

代表中華民國參加芝加哥博覽會（5 月 27 日至 11 月 12 日）

6月

回台定居

10 月 1934

9月 10 月

1935

1942

1943

次男前民出生

參加台灣文藝連盟主辦的「綜合藝術を語るの會」

4月

第 23 回光風會展（4 月 24 日至 5 月 10 日）入選

第 7 回台陽展（26 日至 30 日）展出作品 4 件參加第 4 回府展（10 月 24 日至 11 月 5 日）入選

2月

第 29 回光風會展（2 月 14 日至 3 月 1 日）入選

4月

台陽展會員 5 人，舉行洋畫小品展（1 日至 21 日，天馬茶房）

4月 10 月

12 月

2月

第 28 回光風會展（2 月 14 日至 3 月 1 日）入選

4月

第 8 回台陽展（26 日至 30 日）展出作品 4 件

1945

參加第 9 回台展（10 月 26 日至 11 月 14 日）

參加第 3 回府展（10 月 26 日至 11 月 4 日）入選

2月

10 月

參加在鐵道旅館舉辦的「台陽美術協會」成立大會

第 1 回台陽展（4 日至 12 日）展出作品

第 6 回台陽展（27 日至 30 日）展出作品 6 件

援助《台灣文學》雜誌的資金

11 月

5月

擔任「青辰美術協會」特別會員，負責指導嘉義的洋畫家

10 月

1944

10 月 1936

1941

第 8 回台展（至 11 月 4 日）入選

第 22 回光風會展（11 日至 27 日）入選

第 27 回光風會展（2 月 14 日至 3 月 3 日）入選

3月

10 月

第 15 回帝展（10 月 25 日至 11 月 20 日）入選

2月

參加第 2 回府展（10 月 28 日至 11 月 6 日）入選

2月

第 1 回展（8 月 29 日至 9 月 2 日）

參加第 7 回台展（10 月 25 日至 11 月 5 日）入選為了帝展的出品，前往東京

第 5 回台陽展（4 月 28 日至 5 月 1 日）展出作品 5 件

4月

參加第 6 回台展（10 月 25 日至 11 月 3 日）入選

5月

第 26 回光風會展（2 月 19 日至 3 月 5 日）入選

4月 10 月

參加藝苑第 2 屆展覽會 10 月

2月

4月

參加第 5 回府展（19 日至 29 日）入選第 9 回台陽展（4 月 28 日至 5 月 2 日）展出作品 6 件參加第 6 回府展（10 月 26 日至 11 月 4 日；翌年中止）入選第 10 回台陽招待展（26 日至 30 日）出品擔任嘉義市各界歡迎國民政府籌備委員會副主任委員就任嘉義市自治協會理事

1946

4月 10 月

1947

3月

就任嘉義市第 1 屆議會議員擔任第 1 屆台灣省美術展覽會（簡稱「省展」）審查員並出品作品 3 月 25 日因為「二二八事件」受難，在嘉義火車站前遭槍決

第 2 回台陽展（4 月 26 日至 5 月 3 日）展出作品 10 月

參加第 10 回台展（10 月 21 日至 11 月 3 日；翌年，由於中日戰爭爆發而中止）

1937 1938

2月

第 24 回光風會展（16 日至 28 日）入選

4月

第 3 回台陽展出品（4 月 29 日至 5 月 3 日）展出作品

2月

第 25 回光風會展（2 月 16 日至 3 月 6 日）入選

4月

第 4 回台陽展（4 月 29 日至 5 月 2 日）展出作品

10 月

參加第 1 回台灣總督府美術展覽會（簡稱「府展」，10 月 21 日至 11 月 3 日）入選

Timeless Elegance In Praise of Love

Chen Cheng-Po

Chen Cheng-Po 1895~1947

1895

Chen Cheng-po is born in Chiayi; Chen’s mother dies shortly

1907

Chen is enrolled into Chiayi Public Elementary (today’s Chia-yi Chung-Wen

Entertainment Department, Chiayi Public Hall

Elementary)

The Green Banyan Society, Tainan’s Western painting society, is founded;

1909

Father Chen Shou-yu dies

1913

Chen graduates from Chiayi Public Elementary

Enrolled into the Department of Normal Education, Taiwan Governor-

Chen is hired as a painting instructor along with Liao Chi-chun 1928

of Education); first exposure to and start of passion for Western art under the

Selected for the 5th Kaijusha Exhibition (2.19-3.19)

Graduates from the Faculty of Normal Education, Taiwan Governor-General’s

Selected for the Kofukai Exhibition (15th-30th)

National Language School

40 works on solo exhibition at Xuying College, Xiamen (Amoy)(28th-30th)

Hired as teacher for Student Affairs at Chiayi Public Elementary

(plans to return to Tokyo from Xiamen via Shanghai on Aug.10,returu to Taiwan, participate in the Chih-Yang Society Exhibition in Tainan between Sep. 1-3 and

1918

Marries Chang Chieh, daughter of a distinguished family from Nanmen, Chiayi

1919

First daughter Tsu-wei is born

1920

Transferred to Huzinei Campus of Shuikutou Public Elementary

1924

Quits position at Huzinei Campus

Enrolled into the Normal Education Division in Painting, Tokyo School of Fine

then travel to Taipei) 09

3nd Chi-Hsiung Painting Society Exhibition (8th-11th) Travels to Taipei to paint Longshan Temple in Wanhua (12th-28th) 10

Included in 2nd Taiwan Art Exhibition (10.27-11.6)

Second daughter Pi-nu is born

Longshan Temple is exhibited inside the meeting room of Longshan Temple

Selected for the 2nd Hakujitsukai Exhibition (6.21-7.10)

1926

Selected for the 3rd Hakujitsukai Exhibition (3rd-15th)

Founds Chi-Hsiung Painting Society with Chen Jr-chi et al;

along with Sakyamuni Buddha, a sculpture by Huang Tu-shui Travels to Tokyo; returns to Taiwan at the end of December 1929

1st exhibition by the society held at the Taipei Museum (28th-31st) 10

Selected for the 7th Imperial Art Exhibition of Japan (10.16-11.20)

First son Chung-kuang is born

Selected for the 23rd Taiheiyo Painting Society Exhibition (12th-27th)

Selected for the 8th Central Art Exhibition (11th-31st)

Completes graduate studies at the Tokyo School of Fine Arts 04

Serves as juror and participating artist in the 1st National Art Exhibition of the Republic of China held by the Ministry of Education

Exhibits 4 works in the West Lake Exposition

in the Western Painting Division of the same school

Transfers position to serve as Director in Western painting,Xinhua University of

Selected for the 4th Hakujitsukai Exhibition (3rd-15th)

Returns to Taiwan for s solo exhibition and exhibits 61 works (6.27-6.30 at a

Fine Art 08

Participates in founding of the Chih-Tao Society; exhibits 3 works at its 1st Western Painting Exhibition (8.31-9.3)

museum, 7.8-7.10 at the Chiayi Public Hall)

Selected for the 10th Imperial Art Exhibition of Japan (10.16-11.20)

Founds the Chin-Yang Western Painting Society with Liao Chi-chun et al;

Included in 3rd Taiwan Art Exhibition (16th-25th )

Selected for the 7th Kaijusha Exhibition (2.26-3.14)

3rd)

Selected for the 2nd Prince Shoutoku Commemorative Art Exhibition(3.17-4.14)

2nd Chi-Hsiung Painting Society Exhibition (3rd-4th)

Hired by Wang Yi-ting as p/t instructor at Changming Art School (founded in

presents over 20 works durning its first exhibition at the Tainan Public Hall (1st-

1930

Selected for the 8th Imperial Art Exhibition of Japan (10.16-11.20) Selected for the 1st Taiwan Art Exhibition (10.28-11.6)

Selected for the 6th Kaijusha Exhibition (3.16-4.4)

Graduates from the Tokyo School of Fine Arts; continues with graduate studies

Selected for the 4th Hongou Art Exhibition (1st-30th; renamed to Chun-tai Exhibition the following year)

Selected for the 4th Kaijusha Exhibition (3.30-4.14)

Selected for the Fujian Provincial Art Exhibition

Arts 1925

1927

Selected for the 5rd Hakujitsukai Exhibition (4th-19th) 3rd Society 1930 Exhibition (11th-26th)

tutelage of Ishikawa Kinichiro 03

Travels to Taipei for a planned painting en plein air trip in Danshui and Beitou, returns to the Tokyo on 23rd

General’s National Language School (today’s Taipei Municipal University

1917

Co-stages a calligraphy and painting exhibition with Lin Yu-shan at the

Spring 1930) 05

Included in the 2nd Chih-Tao Society Exhibition (9th-11th)

Curriculum Vitae

Selected for the 24th Kofukai Exhibition (16th-28th)

Exhibits in the 3rd Tai-Yang Art Exhibition (4.29-5.3)

Selected for the 25th Kofukai Exhibition (2.16-3.6)

Instructed by former Governor-General Kamiyama Mannoshin to paint en plein

Exhibits work in the 4th Tai-Yang Art Exhibition (4.29-5.2)

air at Qili River on Taiwan’s east coast

Included in the 1st Taiwan Viceroy Art Exhibition (10.21-11.3)

Selected for the 26th Kofukai Exhibition (2.19-3.5)

Returns to Taiwan from Shanghai

Moves family to Shanghai 75 works on solo exhibition at the Taichung Public Hall(16th-17th)

1932

1938

1939

Appointed as Special Reviewer for Japanese Art and Craft

Named Professor Emeritus for Yiyuan Graduate School of Painting (founded in

Exhibits 5 works in the 5th Tai-Yang Art Exhibition (4.28-5.1)

1928, closed down in 1934)

Included in the 2nd Taiwan Viceroy Art Exhibition (10.28-11.6)

Selected for the 27th Kofukai Exhibition (2.14-3.3)

Named Honorable Member of Qingchen Fine Art Association; tasked with

Included the 4th Taiwan Art Exhibition 1931

1937

1940

Serves as p/t Director, Department of Education, at Changming Art School

Exhibits work at Xinhua Art College (Xinhua Painting Exhibition)

Exhibits 5 works in the 3rd Chih-Tao Society Exhibition (3rd-5th)

Exhibits 6 works at the 6th Tai-Yang Art Exhibition (4.27-4.30)

Included in the 2nd Yiyuan Exhibition

Included in the 3rd Taiwan Viceroy Art Exhibition (10.26-11.4)

Selected for the 28th Kofukai Exhibition (2.14-3.1)

advising Western painters in Chiayi; 1st exhibition by the association (8.29-9.2)

1941

Included in the 5th Taiwan Art Exhibition (10.25-11.3)

Third daughter Bai-mei is born

Exhibits 4 works at the 7th Tai-Yang Art Exhibition(4.26-4.30)

Included in the 7th Chun-Tai Exhibition (10th-30th)

Included in the 4th Taiwan Viceroy Art Exhibition (10.24-11.5)

Moves family from Shanghai back to Taiwan

29th Kofukai Exhibition (2.14-3.1)

Returns to Taiwan from Shanghai

5 members of Taiyang Exhibition hold a small Western painting exhition (1-21st,

Attends first regulation-drafting meeting of Juelan Society (disbanded in 1935)

1942

Tianma Tea House) to raise funds for the magazine, Taiwan Literature Exhibits

at Plum Garden Restaurant, Shanghai and exhibits work in the society’s 1st

4 works at the 8th Tai-Yang Art Exhibition (26th-30th )

exhibition (Oct. 1932) 1933

1934

1943

Included in the 6th Taiwan Art Exhibition (10.25-11.3)

Represents the Republic of China at the Chicago World’s Fair (5.27-11.12)

Returns to become based in Taiwan

Included in the 7th Taiwan Art Exhibition (10.25-11.5)

1944

Travels to Tokyo for the Imprial Art Exhibition of Japan

1945

Selected for the 15th Imperial Art Exhibition of Japan (10.25-11.20)

Participate in the fifth round of official exhibition (19th-29th)

Exhibits 6 works at the 9th Tai-Yang Art Exhibition (4.28-5.2)

Included in the 6th Taiwan Viceroy Art Exhibition (10.26-11.4; suspended the following year)

Serves as Deputy Director, Chiayi Organizing Committee for Welcoming the Nationalist Government

Included in the 8th Taiwan Art Exhibition (-11.4)

1935

1936

Attends the founding ceremony of Tai-Yang Art Society at Railway Hotel

Second son Chien-min is born

Selected for the 22nd Kofukai Exhibition (11th -27th )

Exhibits work at the 1st Tai-Yang Art Exhibition (4th-12th )

Included in the 9th Taiwan Art Exhibition (10.26-11.14)

Attends Dialogue on the Arts organized by Taiwan Literature and Art Alliance

Exhibits at the Tai-Yang Invitational Exhibition (26th-30th)

Serves as Director, Chiayi Self-Governance Association 1946 1947

Voted into office as Representative of 1st Chiayi Legislative Assembly

Appointed as juror and exhibits work in the 1st Taiwan Provincial Art Exhibition

Embroiled in the 228 Incident and executed by shooting in front of Chiayi Train Station

(“Taiwan Bungei Remmei”) 04

Selected for the 23rd Kofukai Exhibition (4.24-5.10) Exhibits work in the 2nd Tai-Yang Art Exhibition (4.26-5.3)

Included in the 10th Taiwan Art Exhibition (10.21-11.3; suspended to the Second Sino-Japanese War the following year)

Timeless Elegance In Praise of Love

陳澄波 Chen Cheng-Po

裸女斜坐側右 Seated Nude Leaning to the Right 油彩、畫布 Oil on canvas 20F

由 1931 年上海藝苑美術展覽會，陳澄波先生和中國當代藝壇上的這些頂

In 1931, Chen Cheng-Po had an oil painting of a nude in a major

尖大師共同展覽，如張大千、徐悲鴻、潘玉良、潘天授…等人，此次展出

Shanghai Art Exhibition that included works by top contemporary

一幅「人體」油畫，可見在當時中國藝壇上他已占有一席之地。徐悲鴻、

Chinese artists like Zhang Da-Qian, Xu Bei-Hong, Pan Yu-Liang, Pan

潘玉良均是中國最早期的留法學生之一，所以把法國巴黎畫派的畫風與思

Tian-Shou, and so on, which indicates that he was already considered

維帶入中國，陳澄波先生因此吸收了巴黎畫派的藝術風格。巴黎畫派畫家

a leading artist of the time. Xu Bei-Hong and Pan Yu-Liang were

莫迪利亞尼（ Amedeo Modigliani 1884 － 1920 ）喜好把人體矯飾，所以陳

members of China's first generation of artists to have studied abroad in

澄波先生此階段的人體作品也矯飾成很修長的造型。

France, and so they brought the styles and ways of thinking of Paris to China, and Chen Cheng-Po absorbed these artistic styles. Artists from the school of Paris such as Modigliani were fond of mannerist figures, and so Chen's figure paintings from this period show similarly elongated forms.

Timeless Elegance In Praise of Love

陳澄波 Chen Cheng-Po

裸女握肘 Nude Female Holding Own Elbow 1941 油彩、畫布 Oil on canvas 12F

Timeless Elegance In Praise of Love

陳澄波 Chen Cheng-Po

裸女沉思 Thinking Nude 1930 油彩、畫布 Oil on canvas 10F

到了上海，陳澄波已升格為老師，雖然他在一九三〇、一九三二年左右畫

When Chen Cheng-Po came to Shanghai, he had become a teacher.

的油畫裸婦，還是舉止拙趣、身材變形、輪廓粗黑、感受並不靈巧。但是

Although the women in his nude paintings between 1930 and 1932

一九三二年一大批在課堂上示範的水彩人體動態畫，卻表達出快速速寫、

seemed to be clumsy in postures with weird shape and bold dark

輕快酣暢、律動感十足、用色輕巧，表情豐富、造型幽默等特質，徹底將

silhouette, the watercolor painting of moving bodies which he

以往油畫裸女的種種缺點，例如造型不精確等，尋出一條巧妙的解決道

demonstrated in class in 1932 showed the qualities of rapid sketching,

路。當他不再那般執著立體、量感、明暗等西方傳統要求，而對線條、形

fluent strokes, the sense of rhythm, the clever use of colors, rich

體的開放，以及平面化有所認同與體悟時，這的確是一種水到渠成的舒發

expressions, and humorous shape. It proved that the artist had

與解放，此時陳澄波光靠一些簡單及變形的色彩筆觸，就可即興營造裸體

completely improved the deficiencies in his previous oil paintings of

人物自由移動的趣味。

nude women, solving the problems such as the inexact shape. While he no longer persisted with the Western convention of the threedimensional space, volume, or light intensity, and came up with a new realization about the plane surface, he thus came to a natural release and liberation.

Through some plain or transformed colors and strokes,

Chen Cheng-Po could improvise the humor of these freely-moving naked figures.

Timeless Elegance In Praise of Love

陳澄波 Chen Cheng-Po

坐姿背面裸女 Back of a Seated Nude 油彩、畫布 Oil on canvas 10F

Timeless Elegance In Praise of Love

陳澄波 Chen Cheng-Po

少女舞姿 Dancing Girl 1932 油彩、畫布 Oil on canvas 10M

Timeless Elegance In Praise of Love

陳澄波 Chen Cheng-Po

站立裸女 Standing Nude 油彩、木板 Oil on wood 22.5×15.5cm

Timeless Elegance In Praise of Love

關

於

李梅樹

1902 年生於三峽。自小喜歡美術和音樂，年少時適逢鎮

在李梅樹的繪畫生涯中，雖然抽出部分時間從事政治、經

上重修祖師廟，他被修廟畫師熟練的技巧所吸引，加上喜

濟的工作，但他終生堅持自己的目標。重建清水祖師廟時

歡閱讀三國、水滸等通俗小說並隨興描繪故事中的人物，

也是盡心盡力，舉凡這座廟的設計、考證到監工、用料都

因而嚮往成為一位畫家。

親自規劃，耗盡心思、不計個人的奉獻。盼能將生活和藝術的美相結合，繁榮地方並引領民眾去親身體驗、生活於

讀了兩年農產實業科與國語學校師範部，後任教於瑞芳公

其中。

學校，利用課餘時間和石川欽一郎習畫，當得知黃土水的雕刻入選「帝展」，更促使李梅樹學畫的決心。 1927 年

李梅樹的畫風細膩，崇尚寫實，而且喜歡取材生活的現

參加第一回台展，旗開得勝，備受鼓舞後決心前往日本深

實。晚年投入台灣婦女圖像，無人能出其右，畫中人物即

造。 1928 年赴日習畫，考入東京美術學校，受教於藤島

便是鄉土出身、最樸素的姿態，卻流露出高貴的氣息，這

武二等名師門下。

也是他留給人們深刻懷想的藝術家生命的本質呈現。

1934 年學成返國，此期間已經是「台展」旅創佳績的佼

迄今，位於三峽的李梅樹紀念館，與拱橋、祖師廟、老街，

佼者。除了從事繪畫工作，也與楊三郎等人創組「台陽美

恰巧構成三峽豐富的歷史人文風土景觀，也看得見李梅樹

術協會」，並擔任三峽庄協議會議員。光復後歷任三峽農

奉獻其中的美麗足跡。

李梅樹 Lee Mei-Shu

1902~1983

會理事、台北縣議員等職務，為地方上頗具名望的仕紳， 1964 年任教於文大美術系與國立藝專美術系，直至退休。

About

Born in 1902 in Sanxia, Taiwan, Lee Mei-Shu had developed

Lee, together with his fellow painters, founded the Taiyang Fine

an affection for drawing since early childhood. In pursuit of his

Arts Association, the first ever in Taiwan. From 1947 through

dream of becoming a painter, Lee left for Japan in 1928. In the

1982, Lee was also with the Reconstruction Committee of Sanxia

March of 1929 he was admitted to the Tokyo School of Fine Arts

Tsushih Temple, taking charge of renovating the dilapidated

where he concentrated on studying and exploring the different

temple. With painstaking design and prudent planning, he filled

eras such as Classicism, Romanticism and Realism. Gifted and

the temple with a new life, making it the symbol of Taiwanese

versatile artist as he was, Lee received his first lesson in realism

traditional arts. In addition, Lee was appointed as a professor in

at the art school in Japan, and realism remained the principle

fine arts at Chinese Culture University as well as the National

he lived by as an artist for the rest of his life even though there

College of Arts. As a painter, Lee used his paintbrushes to fulfill

were times when fauvism or abstractionism was the mainstream.

this commitment, manifesting his love of the Taiwanese people

Somehow realism was the only way in which as Lee himself

and nature on his works.

described, "I could best serve my faith in depicting the true beauty of rural life in Taiwan." Shortly after his graduation from the art school in 1934, Lee returned to his hometown, Sanxia, Taiwan, to which he had a profound commitment for the art industry.

He was very active in promoting fine arts in Taiwan. As a result,

Timeless Elegance In Praise of Love

年

表

李梅樹 1902~1983

1902

3 月 13 日生於三角湧（三峽舊地名）

1910

就讀日據時代三峽公學校

1914

受教於日本教師遠山岩，開始接觸西洋畫

1915

三峽公學校畢業；入三峽公學校實驗科農業管理

1918

考取日據時代台灣總督府國語學校師範部

1919

領導發起舉辦全校學生美展

1922

自台北師範學校公學師範部畢業，與林粒女士結婚

1939

10 月李梅樹《紅服》入選第三屆新文展作品《溫室》獲第二屆府展特選推薦 1940

10 月，《花女》參展「日本紀元二千六百年奉祝展」《花與女》獲台日文化獎《朝》獲第三屆府展入選

1941

任教於瑞芳公學校

8 月，台灣文學雜誌社舉辦洋畫小品義賣會，與陳澄波、李石樵等人捐作品 50 件

1923

參加日人石川欽一郎所組之「暑期美術講習會」

1924

調返三峽公學校執教

1942

《麗日》獲第五屆府展推薦

1925

父親逝世

1943

《新綠薰頃》獲第六屆府展推薦

1927

7 月，台北州國語日海報展募集，入選者有藍蔭鼎、李梅樹等

1945

二次大戰結束，被推為三峽街代理街長

《靜物》入選第一屆台展

1946

任三峽鎮代會主席

《三峽町裡》入選第二屆台展

1947

被推任三峽長福巖清水祖師廟重建負責人，設計並主持重建工作。聘請陳

1928

《實頃》獲第四屆府展入選

11 月，出發前往日本，在「信濃丸」上巧遇陳澄波，由陳承潘接待

1929 1930 1931

應彬的徒弟與兒孫參與清水祖師廟重建設計工作

12 月，抵達東京。之後白天到川端畫學校、新宿的同舟社、晚上再到本

1950

台灣實施地方自治，當選台北縣第一屆縣議員

鄉繪畫研究所日夜練習，也曾到吉村芳松的畫塾學習

1952

連任第二屆縣議員

3 月，考取東京美術學校西洋畫科（特別生）

1955

連任第三屆縣議員

《臺北病院庭》入選第三屆台展

1959

11 月，在台北市中山堂舉行第一次個展

5 月，長兄病逝，返台奔喪，休學一學期

1962

任中國文化學院（今文化大學）研究所教授

《朝》入選第四屆台展

1963

5 月，於台北市海雲閣畫廊舉行第二次個展

說服家人，再度赴日，繼續未完成的學業；入岡田三郎助門下

1964

任國立台灣藝術專科學校美術科教授兼主任，美術科設國畫、西畫、雕塑三

2 月，《秋色》入選日本光風會第十八屆展展出

組，邀請洪瑞麟於西畫組教授素描課程；廖德政也同時受聘為兼任副教授

《物》入選第五屆台展

1965

邀請呂基正赴藝專執教，直至 1985 年呂基正因車禍受傷請辭退休為止

1932

《靜物》入選第六屆台展

1967

創辦國立台灣藝術專科學校雕塑科，並兼主任

1933

2 月，《自畫像》入選日本光風會第二十屆展、獲第七屆台展特選獎

1968

帶領學生參與三峽祖師廟重修工程

1934

《竽女》參加第八屆台展，為日據時代台北總督府購藏，《水牛》亦入選

1969

首創美術科系巡迴全國畢業美展

東京美術學校油畫科畢業返台，與陳澄波、廖繼春、楊三郎等，創立「台

1973

自國立台灣藝術專科學校退休

陽美術協會」

1974

與畫友共同創立「中華民國油畫學會」

《憩女》獲第九屆台展特選獎及台展賞；《編物》獲入選

1975

任國立台灣師範大學美術系教授

11 月，台展結束後，李梅樹招待梅原龍三郎、藤島武二，以及鹽月桃甫

1976

任「中華民國油畫學會」第二屆理事長

遊歷三峽

1977

任中國美術協會理事長

1936

《女》再獲第十屆台展特選，《黃昏時》獲入選

1978

代表美術界出席國建會，呼籲儘速籌建現代美術館

1937

獲「台日文化獎」

1981

任「中華民國油畫學會」榮譽理事長

1938

當選三峽街協議會員

1982

12 月，應國立歷史博物館之邀，舉辦「八十回顧展」

《曠野》獲第一屆府展入選

1983

2 月 6 日，病逝台大醫院

1935

回到日本，租賃畫室作畫

Curriculum Vitae

Lee Mei-Shu 1902~1983

1902 1910 1914 1915 1918 1919 1922 1923 1924 1925 1927 1928

1929 1930 1931

1932 1933 1934

1935

1936 1937

Born on 13th March in Sanchiaoyung (currently known as Sanxia) Studies at Sanxia Public School during the Japanese colonial era Instructed by a Japanese teacher, Toyama Iwa, and began to delve in Western painting After graduating from Sanxia Public School, entered Agricultural Management in Experimental Division Admitted to the Taiwan Governor-General’s National Language during the Japanese occupation era Led the organization of an art exhibition for all the students at the school Married Ms. Lin Li after graduating from the teaching department at Taipei Normal School Begins teaching at Rueifang Public School Participates in “Summer Art Salon” organized by Ishikawa Kinichiro Transfers back to teach at Sanxia Public School Father passes away Nominees selected for Mandarin Daily Poster Exhibition in July include Lan Yin-ting Lan and Li Mei-shu Still Life is selected for first Taiwan Fine Arts Exhibition Inside Sanxia is selected for second Taiwan Fine Arts Exhibition Embarks to Japan in November and coincidentally meets Chen Cheng-po at Shinano Maru through Chen Cheng-po Arrives in Japan in December. Goes to Kawabata Painting School in the Shinjuku district during the day, then goes to practice at Hongo Painting Institute during the night. Also studies at Yoshimura Yoshimatsu’s private painting school Admitted to the western painting department (special student) at Tokyo School of Fine Arts in March Atrium of Taipei Hospital is selected for third Taiwan Fine Arts Exhibition Older brother dies of illness in March, prompting him to take a semester off to go back to Taiwan to mourn Dawn is selected for the fourth Taiwan Fine Arts Exhibition Convinces family to allow him to go back to Japan and continue his unfinished studies. Becomes disciple of Okada Saburosuke Autumn Colors is selected to be displayed at the eighteenth Kouhuukai Exhibition Substance is selected for the fifth Taiwan Fine Arts Exhibition Still Life is selected for the sixth Taiwan Fine Arts Exhibition Self-Portrait is selected for the twelfth Kouhuukai Exhibition, and receives award at seventh Taiwan Fine Arts Exhibition Yu Girl is selected for display at the eighth Taiwan Fine Arts Exhibition, and purchased for the residence of Taipei’s Governor-General during the Japanese colonial era. Buffalo is also nominated Graduates from the oil painting department at Tokyo School of Fine Arts and returns to Taiwan Establishes Tai-yang Arts Association along with Chen Cheng-po, Liao Chi-Chun, and Yang San-Lang Resting Lady receives award and honor at ninth Taiwan Fine Arts exhibition. Knitting is nominated Li Mei-shu invites Umehara Ryuzaburo, Fujishima Takeji, and Shiozuki Toho to take a tour of Sanxia after the end of Taiwan Fine Arts exhibition in November Woman receives special award again at tenth Taiwan Fine Arts Exhibition. Dusk is nominated Receives Taiwan-Japan Cultural Award

1938 1939 1940 1941 1942 1943 1945 1946 1947 1950 1952 1955 1959 1962 1963 1964

1965 1967 1968 1969 1973 1974 1975 1976 1977 1978 1981 1982 1983

Elected as council member for Sanxia Street Wilderness is selected for first Taiwan Government Fine Art Exhibition Back to Japan, concentrated on painting in studio Red Clothing receives Japan New Culture Art Exhibition Greenhouse is selected for second Taiwan Government Fine Art Exhibition. Flower Girl participates in Japan Commemorative Exhibition in October Flower and Girl receives Taiwan-Japan Cultural Award Dawn is selected for the third Taiwan Government Fine Art Exhibition Taiwan Literature Magazine Society hosts western painting bazaar in August. Donates a total of 50 works along with Chen Chen-po, Lee Shih-Chiaou, and others Shi Qing is selected for fourth Taiwan Government Fine Art Exhibition Beautiful Sun receives recommendation at fifth Taiwan Government Fine Art Exhibition New Green receives recommendation at sixth Taiwan Government Fine Art Exhibition Promoted to street representative for Sanxia Street after World War II Becomes chairman of Sanxia Township political party Recommended to be in charge of the reconstruction of Sanxia Tsu Shih Temple to lead the design and direction of the reconstruction. Hired the disciples and children of Chen Ying-bin to help in the reconstruction and design of Tsu Shih Temple Elected as council member for the first session of the County Council in Taipei County during the implementation of local self-government for Taiwan Reelected to the second County Council Reelected to the third County Council Holds first solo exhibition at Taipei Zhongshan Hall in November Serves as graduate school professor at Chinese Culture University Holds second solo exhibition at Haiyunge Gallery in Taipei in May Serves as professor and dean of fine arts department at National Taiwan Academy of the Arts, which includes Chinese painting, Western painting, and sculpture. Invites Hong Rui-Lin to teach sketching course for the Western painting group. Liao Te-Cheng also employed as an adjunct associate professor Invites Lu Chi to teach at Taiwan Academy of the Arts. Lu Chi taught until 1985 when he resigned after being injured in a car accident Founds the sculpture department at Taiwan Academy of the Arts and served as its dean Leads students to join renovation work for Sanxia Tsu Shih Temple Pioneered National graduation tour exhibition for fine arts department Retires from Taiwan Academy of the Arts Co-founds “The Oil Art Society of the Republic of China” along with his painting colleagues Serves as professor of fine arts department at Taiwan Normal University Serves second term as chairman for The Oil Art Society of the Republic of China Serves as chairman for Chinese Artists Association Representes arts community at National Council and calls for the immediate construction of a modern art museum Serves as honorary chairman for “The Oil Art Society of the Republic of China” Organizes “Eighty Year Old Retrospective Exhibition” on invitation from National Museum of History in December Passes away due to illness in National Taiwan University Hospital on Feburary 6

Timeless Elegance In Praise of Love

李梅樹 Lee Mei-Shu

小憩之女 Resting Lady 1935 油彩、畫布 Oil on canvas 100F

Timeless Elegance In Praise of Love

《小憩之女》繪於一九三五年，是根據一張李梅樹自己攝影的照片為藍本

and cloth highlight the bright sunlight.

改造的，模特兒是畫家的侄媳，閒坐在一個頗富詩情畫意的庭園裡，彷彿

fragmented strokes also makes the sun even more glittering, bringing

若有所思。午後的陽光溫暖而和煦，黃綠與黃褐色共同營造出昏黃的主色

vivid life to the image. The freely painted strokes change with the

調，使光線效果顯得更為柔媚，白色的裙擺、鞋子和布幔則增添了陽光的

different objects being portrayed, creating the visual rhythm of the

閃亮。印象式的碎筆觸除了更增加陽光的絢爛之外，也使畫面更形活潑，

painting.

The impressionist style of the

隨意揮動的筆觸，隨著物形的不同變換不同方向與筆法，調出了畫面的節奏與韻律。

The Woman Who Slices Sweet Potatoes (1934), Fabric (1935), At Dusk (1936), and Resting Lady were all painted when Lee Mei-Shu

《切蕃薯之女》、《織物》、《黃昏時》與《小憩之女》皆為李梅樹返台

had just returned to Taiwan, and the main theme of the four works

初期所作，描寫的都是台灣婦女，這些件品中的人物及場景是道道地地的

is Taiwanese women. However, the local subjects are represented

本土題材，但就技巧及風格看來，帶有濃厚的西歐風情；也因李梅樹曾為

with a Western/European atmosphere through the artist's skill and

岡田三郎助（おかださぶろうすけ 1869 － 1939 ）的高徒，因而能兼得典

taste.

雅與親切而使西洋美術和本土之間獲得相當的協調，頗獲好評。

Saburosuke, Lee Mei-Shu still finds a natural balance between the local

Nevertheless, as one of the most established disciples of Okada

subject and the Western aesthetics, the intimate and the elegant.

在《小憩之女》中，那正在凝思，有著溫婉姿態的女子，置身在那樣脫俗的環境裡，淡出的背景、溫潤的色調，散落地面的西洋名畫畫冊，這樣美

In Resting Lady , the graceful lady who seems deep in thought is put

好的藝術情調，和那個時代普遍的視覺經驗應該是截然不同的。沒有粗率

in a transcending situation. The faded background, the warm hues,

或拘謹的用筆，沒有鮮麗或晦暗的色彩，李梅樹以一致的色調、筆法處理

and the art catalogues (of Western masterpieces) scattered around

如此繁複的空間而不覺窒礙，在畫面構成上可說已面面俱到、筆觸穩斂、

offer a beautiful artistic atmosphere which is quite different from the

色感豐富，整幅畫飽滿充實卻又柔和恬淡，就技法與格調而言，這確實是

contemporary visual experience.

當時台灣美術的代表性作品。 The painting inspires the reminiscence of the long-gone past (the Japanese and the European).

The strokes are neither reckless nor

punctilious, and the colors are neither bright nor obscure. Instead, Painted in 1935, Resting Lady is an adaptation work based upon a

Lee Mei-Shu adopts a unifying tone and stroke-style to deal with the

photograph taken by Lee Mei-Shu. The model in the image is the wife

complicated space, saving us the risk of suffocation. The composition

of the painter's niece. She sits in a garden as beautiful as a poem as if

of the image is well-organized, the strokes are solid, and the colors are

deep in thought.

rich. The whole painting has a saturated but yet peaceful atmosphere.

The afternoon sun is warm and pleasant, while the yellow green and

most representative works at that time in Taiwan. No wonder it was

the brownish yellow both create the main tone of pale yellow which

awarded the special price of the Ninth Taiwan Fine Art Exhibition as

softening the light effect. Meanwhile, the white skirt edge, shoes,

well as the “ Taiwan Governor-General Award. ”

Judged by its technique and style, Resting Lady is indeed one of the

畫家於三峽舊居畫室（攝於 1935 ） Artist photographed in Sanxia studio (1935)

梵谷保羅 ˙ 凱歇醫生 1890 Vincent van Gogh's Portrait of Dr. Gachet (1890)

雷諾瓦大浴女 (1918-1919) Pierre-Auguste Renoir's The Bathers (1918-1919)

Timeless Elegance In Praise of Love

李梅樹 Lee Mei-Shu

冰果店 Cold Drink and Fruit Shop 1974 油彩、畫布 Oil on canvas 60P

Timeless Elegance In Praise of Love

《冰果店》繪於一九七四年，畫的是祖師廟誦經團團員，和《新裝》、《窗

在《冰果店》一作中，都市樓房建築透過窗戶出現在背景，現代人生活的

邊斜陽》等相似，都是以群像為題材的「生活留影」，李梅樹要留下的是

飲料文化與消費行為，在透過對冷飲室內人物的啜飲休憩刻劃，成為了此

日常生活中可提供留念的片斷，是不經意間被攝取，但值得追念的記憶。

幅主題。在靠街櫥窗上各種形色飲料瓶罐平行毗接排列，將大眾文化中不可或缺之廣告招徠企圖一一表達出來。不過，西方普普藝術家對於大眾流

七〇年代的《冰果店》，一定有個透明的冰櫃，裡面的汽水、可樂都還是

行文化之描繪通常是有某種意識型態藝術觀作為背後表達之理念，而這跟

玻�瓶裝的，在記憶中，窗外永遠是艷陽高照，冰果店內總是比較陰暗涼

李梅樹人物出發的創作著重於人物寫實之描繪仍有所違背。然而，前面在

快。李梅樹是藉照相機來取景的，正坐著喝飲料的女子們和鏡頭的距離不

《新裝》中，我們亦看到畫家引入較具潮流性的立體風格，及當時風靡西

一，而且又在逆光狀態下，所以人物的明暗才會由近到遠呈由亮而暗的變

方的普普藝術。

化，這顯然是一幅參考照片來敘述「當下」的作品。

在《冰果店》裡，由於光線的介入，使人的「真相」轉為一種「狀態」，

Painted in 1974, Cold Drink and Fruit Shop is a group portrait of a

畫家的著力點是景，人似乎已退居次要的地位，雖然景重於人，但李梅樹

sutra-chanting group at the Sanxia Tzushih Temple. Similar to The New

對於人的感覺畢竟是深刻的，那樸拙的臉龐、神態及純真的眼神，再加上

Dress and The Window View of the Setting Sun , Lee Mei-Shu attempts

那似曾相識的場景，李樹梅在�間的光線，剎那的神態中捕捉到的，仍然

to visualize the momentary fragment of the daily life – the memory

是親切而有情的歲月。

being captured unintentionally thus becomes the indispensable part of our history.

一九五〇年代，西方主流藝術抽象表現主義已顯露疲憊之姿。這時在大西洋的兩岸，紐約和倫敦興起了下一波普普藝術的號角，由理查 ˙ 漢彌頓

In the 1970s, as depicted in Cold Drink and Fruit Shop , a refreshment

（ Richard William Hamilton 1922-2011）、耶杜拉瓦 ˙ 巴歐洛契（ Eduardo

stand required a transparent freezer with bottles of Coca-Cola inside.

Paolozzi 1924-2005 ），以及傑斯伯 ˙ 瓊斯（ Jasper Johns1930- ）和羅勃特 ˙

In the memory, the cool refreshment stand provided a shelter from the

羅遜伯格（ Robert Rauschenberg 1925–2008）等主導。普普藝術最明顯的旗

burning sun outside. Lee Mei-Shu photographed the scene, in which

幟是主題均取材自現代都市生活的素材。而畫風上走具象，追求細膩之寫

the women who sat down to drink were in various distances from the

實平塗之描述方式。

camera.

Lee took this photo against the light, so the figures in the

background were darker than in the foreground. It appeared to be a

李梅樹的作品在五〇年代末、六〇年代初，開始他極具個人化風格之「照

reference photograph depicting the “ moment. ”

相寫實」晚年畫風。在題材上，除了延續他一貫以周遭親戚友人單獨或群像的描寫外，他於七〇年代中期，完成了數幅可稱得上是普普風格的作

In Cold Drink and Fruit Shop , the intervention of light transforms the

品，如七六年的《納涼》以及這一幅《冰果店》。

"truth" "of people into a "state." The painter's focus is the scene instead of the figures. However, Lee Mei-Shu still reveals his deep feeling for

people. What he captures through the light of the moment is the rustic faces, the honest expressions, and the innocent eyes – the deja-vu of a time full of affection and intimacy.

In the 1950s, Abstract Expressionism started to fade away from the Western mainstream. Meanwhile, London and New York, the two cities on the both side of the Atlantics, welcomed the arrival of Pop Art, with Richard Hamilton, Eduardo Paolozzi, Jasper Johns, and Robert Rauschenberg as pioneers. The most distinctive trait about Pop Art is its subject derived from modern urban life and its pursuit of delicate realism with flat color technique.

In the late 1950s and the early 1960s, Lee Mei-Shu started to explore photorealism which became his famous personal style in the late stage of his artistic practice. His choice of subjects followed the previous

納涼 Enjoying the Coolness 1976

油畫 Oil on Canvas 91 × 116.5cm

single or group portraits of close friends and relatives. In the middle 1970s, he completed several paintings which could be considered Pop Art, including Cold Drink and Fruit Shop and Enjoying the Coolness in 1976.

In the painting Cold Drink and Fruit Shop , the urban buildings are

contradictory to Lee Mei-Shu's realistic portrayal with the emphasis on

shown in the background.

The cold drink culture and the consumer

people. Nevertheless, in The New Dress , we have seen how the artist

behavior in our modern life are represented in the portrayal of these

introduced the trend of Cubist style. Was he aware of Pop Art which

people who take a rest in the refreshment stand. It thus becomes the

had already become a fashion in the West for about ten years?

theme of this painting. Various bottled drinks are lined up in the transparent freezer on the street side, reminding us of an advertising attempt which has already become an indispensable part in popular culture. However, the Western pop artists' representation of pop culture is usually supported by certain aesthetic ideology, which is

Timeless Elegance In Praise of Love

李梅樹

秋實

Lee Mei-Shu

Autumn Fullness

與《花與女》歐式建築改換為三峽台灣農景，和

the paint in the bottom is flaking off. It might

主角人物所從事工作項目之更改：由室內家居活

be the reason why this painting merely received

動挪移為戶外農忙工作，均可看出台灣當時的面

the merit award in that year's Taiwan Fine Art

貌。

Exhibition.

Autumn Fullness is an oil painting full of the

In 1940, after the painting The Red Clothes ,

《秋實》是一幅充滿鄉土情懷的油畫作品。短髮

love for the land. The innocent peasant girl

Lee Mei-Shu's Flower and Girl was again

清新的農家少女，手腕著提籃，身上繫繞的白色

with short hair holds a basket and wears a

selected in the fourth Japan Art Exhibition

圍裙，含情脈脈和直立的身姿，倍顯純樸清麗氣

white apron. She stands straight with her eyes

(also known as the Exhibition of Japan's 2600-

息。

beaming with affection, showing an honest and

Year History). In these two works, as well

yet fresh quality.

as in Autumn Fullness and the later Peasant

1941 油彩、畫布 Oil on canvas 50F

在遠山與田野之間，凸顯農家女於畫面前景；

Girl , Lee Mei-Shu portrays young women with

畫面左側之綠葉枝幹，則亦穿越畫幅的上下，

The peasant girl stands in the foreground, being

similar aprons and standing poses. These girls

有陪襯與構圖補助之意。整體而言，此畫色彩

highlighted between the remote mountains and

who stand straight vertically occupy the whole

以橘粉、綠粉和紅白添加黃色調，帶有後印象

the fields. The green leaves and the branches on

image. However, the different backgrounds (the

派之風格、人物和姿態，或許受到柯洛（ Jean-

the left side of the image vertically run through

European-style buildings in The Red Clothes

Baptiste Camille Corot 1796 － 1875 ）和高更（ Paul

the painting, supporting the whole composition.

and Flower and Girl are replaced by the rural

Gauguin 1848 － 1903 ）影響有關；而架構上，遼

Generally speaking, the colors used in the

scene in Sanxia, Taiwan) and the changes of

闊田原山巒的空間感，加上田梗線條和縱貫的樹

painting are mainly pastel orange, pastel

these main figures' work (from the domestic

枝交錯鋪陳，使畫面層次更加豐富。

green, and the combination of red, white and

activity to the outdoor farm work) clearly

the yellow hues. The figures and the postures

demonstrate the trend of localization.

一九四〇年繼《紅衣》後，李梅樹再次以《花與

presented in a post-impressionist style might be

女》一作入選日本第四屆文展（亦稱作日本開國

inherited from Jean-Baptiste Camille Corot and

One draft of the oil painting Autumn Fullness

二千六百年展）。在這兩張作品，以及《秋實》

Paul Gauguin. However, the composition seems

remains. In comparison, the hair style, clothing,

和隨後的《農家少女》中，李梅樹均以年輕女子，

to be disordered since the field ridges and the

and posture of the same figure has been dealt with

穿著相似之圍裙、站姿，約正面佔畫面縱向�幅

vertical branches ruffle the vast view of the

in a more delicate way, but its use of primary colors

等主題營造作品。但是經由背景的轉換：《紅衣》

mountains and the plains. It is also a pity that

create a totally different effect from the final work.

Timeless Elegance In Praise of Love

李梅樹 Lee Mei-Shu

河岸清晨 Morning of Riverbank 1972 油彩、畫布 Oil on canvas 12F

Timeless Elegance In Praise of Love

關

於

陳植棋

陳植棋於 1906 年出生於汐止橫科。自南港公學校畢業後，進入台北師範學校就讀。1924 年，加入了老師石川欽一郎所成立的「寫生會」，自此開始接觸繪畫，他的藝術天份相當受到石川欽一郎的重視。同年 11 月，陳植棋因修業旅行路線之爭引發的學潮遭到學校勒令退學。翌年，在石川欽一郎的鼓勵下赴日留學。

抵達東京後，陳植棋在本鄉洋畫研究所與吉村芳松畫塾習畫，而後考進東京美術學校西洋畫科。此後 1926 � 1930 年間，陳植棋的畫作多次入選「光風會」、「國畫協會」、「槐樹社」等繪畫展覽，台灣

美術展覽會開辦後，陳植棋更是屢獲入選、特選與免審查資格。在 1928 年和 1930 年，更是以《台灣風景》、《淡水風景》與《芭蕉》等繪畫作品入選日本帝國展覽會與日本聖德太子美術奉讚展覽會。除了積極參賽，陳植棋在畫壇也相當活躍，和倪蔣懷、陳澄波等七人組成了第一個台灣人的民間繪畫團體「七星畫壇」，而後與南部畫家的「赤陽會」合併組成「赤島社」，以奉獻鄉土、提昇文化為己任。

陳植棋 Chen Jr-Chi

1906~1931

除了展覽之外，也在「台灣繪畫研究會」的暑期講習擔任講師。1930 年 3 月陳植棋畢業返台，依然勤奮作畫不懈， 8 月，為赴日參加帝展，冒風雨泅水過河，抵東京後即因肋膜炎住院。1931 年創作過勞舊疾復發，終至一病不起，得年二十六歲。

陳植棋曾說：「如果生命是細而長的話，我寧願短而亮，我嚮往迸發的生命力。」他以流星般的生命實踐了這句話，但是對台灣美術界而言，他的藝術生命太過短暫，相當令人惋惜。

About

Chen Jr-Chi was born in 1906 in Hsichih, Taiwan. He studied in the National Taiwan Normal University and in 1924 he came to Kinichiro Ishikawa to learn how to paint from real life and thus had the opportunity to get in touch with arts. Kinichiro Ishikawa valued Chen’s innate talent for arts and he encouraged Chen to pursue further learning in Japan. He got accepted into Tokyo Fine Arts School and specialized in Western arts. During the period of 1926 ~ 1930, many of his works were accepted into displaying at the top exhibitions such as Kouhuukai. He returned to Taiwan in 1930 after his graduation and started to produce numerous art works with the ambition to enter the Japanese Empire Exhibition held in August. He went aboard to Japan again despite the harsh weather, but unfortunately caught pleurisy due to over-work. In 1931 his illness got worse and he passed away when he was only 26.

His contribution to the Taiwanese art history is too transient, however Chen Jr-Chi once said, “If life is confined and long, I would rather live a life that is short and bright, I love the burst of vitality.”

Timeless Elegance In Praise of Love

年

表

陳植棋 1906-1931

1906

出生於汐止橫科

《靜物》入選日本第七屆槐樹社展

1921

南港公學校畢業；考進台北師範學校

7 月擔任「台灣繪畫研究所」夏季洋畫講習會講師

1924

加入圖畫研究會，跟隨石川欽一郎習畫

8 月為赴日參加帝國美術展覽會冒雨泅水過河，抵達東京後即因肋膜炎住院

與陳澄波等六名畫家共組「七星畫壇」

參加第四回台灣美術展覽會，《紅牆》、《觀音山所見風景》、《真人廟》

因修業旅行路線之爭引發學潮，12 月被師範學校勒令退學

獲免審查資格，《真人廟》同時獲得特選

1925

在石川欽一郎和鹽月桃甫建議下赴日留學於本鄉繪畫研究所與吉村芳松畫塾習畫，以同等學歷考取東京美術學校西

1926

遺作展於總督府舊廳舍

《郊外風景》入選光風會

遺作《婦人像》於第五回台灣美術展覽會獲免審查資格

七星畫壇首次展出於台北博物館畫家陳承藩作媒，迎娶士林街長潘光楷之女潘鶼鶼為妻《花》入選第六回國畫協會創作展《靜物》、《瀧之川風景》入選日本第四屆槐樹社展參加第一回台灣美術展覽會，《愛桃》獲入選、《海邊》獲特選 1928

《黃昏的洋館》入選日本第五屆槐樹社展參加第二回台灣美術展覽會，《三人》、《二人》、《桌上靜物》獲免審查資格《台灣風景》入選第九回帝國美術展覽會七星畫壇與赤陽洋畫會合併為「赤島社」

1929

於台中行啟紀念館舉辦個展《基隆公園》入選日本第六屆槐樹社展赤島社首次展覽於台北博物館 9 月帶領洪瑞麟赴日於本鄉繪畫研究所與川端畫學校習畫參加第三回台灣美術展覽會，《土地公廟》獲入選、《芭蕉庭園》獲特選

1930

自東京美術學校西畫科畢業《芭蕉》入選日本第二屆聖德太子美術奉讚展覽會

4 月因創作過勞罹肺膜炎，病逝於汐止，年僅二十六歲

洋畫科《樹》入選日本第三屆槐樹社展 1927

《淡水風景》入選帝國美術展覽會 1931

Curriculum Vitae

Chen Jr-Chi 1906-1931

1906

Born at Hengke Rd. in Xizhi District

1921

Graduates from Japanese School at Nangang; admitted to Taipei Teachers School

1924

Joins Painting Studies group, and practices painting under Ishikawa Kinichiro

Chidao Association exhibits at Taipei Museum for the first time

Forms Qixing Painting Group along with six painters, including Chen-po Chen

Brings Hong Rui-Lin to Japan to study painting at Hongo Painting Institute and

Ordered to leave Taipei Teachers School due to student protest movement sparked

Kawabata Painting School in September

by the official curriculum

Participates in third Taiwan Fine Art Exhibition. Tudigong Temple is nominated,

Goes to study abroad in Japan at the suggestion of Ishikawa Kinichiro and

while Banana Garden receives special recognition

Shiozuki Toho

Graduates from western painting department of Tokyo School of Fine Arts

1925

Studied painting at Hongo Painting Institute and the private painting school of

1926

1927

1930

Keelung Park is selected for the sixth Pagoda Tree Society Exhibition in Japan

Banana is selected for the second Crown Princeâ&#x20AC;&#x2122;s Exhibition

Yoshimura Yoshimatsu. Admitted to western painting department at Tokyo School

Still Life is selected for the seventh Pagoda Tree Society Exhibition in Japan

of Fine Arts

Serves as seminar lecturer on summer western paintings at Taiwan Painting

Rural Scenery is selected for Kouhu Art Studio

Institute in July

Tree is selected for the third Pagoda Tree Society Exhibition

Gose to Japan to participate in Imperial Art Exhibition in August. Hospitalizes

Qixing Painting Group exhibits at a Taipei Museum for the first time

after arriving in Tokyo due to pleurisy caused by massive amounts of rain on the

Having been introduced by painter Chen Cheng-Fan, marries Pan Jian-Jian, the

way there

daughter of Shilin Street mayor, Pan Guang-Kai

Participates in the fourth Taiwan Fine Art Exhibition. Red Wall, The Scenery of

Flower is selected for the sixth Chinese Painting Association Art Exhibition

Guanyin Mountain, and Zhenren Temple all receive qualification-exempt status.

Still Life, River Scenery are selected for the fourth Pagoda Tree Society exhibition

Zhenren Temple receives special recognition

in Japan

Tamsui Scenery is selected for Imperial Art Exhibition

Participates in the first Taiwan Fine Art Exhibition. Loving Peach is nominated

Passes away in Xizhi due to meningitis caused by overworking in April. He was

and By the Sea receives special selection

1928

Holds solo exhibition at Crown Prince Memorial Hall in Taichung

1929

1931

26 years old

Sunset is selected for the fifth Pagoda Tree Society Exhibition in Japan

Posthumous exhibition is held at old Office of Governor-General

Participates in the second Taiwan Fine Art Exhibition. Three People, Two People,

Posthumous work, Portrait of Woman, receives qualification-exempt status at fifth

and Still Life on the Table receive qualification-free status

Taiwan Fine Art Exhibition

Taiwan Scenery is selected for the ninth Imperial Art Exhibition Qixing Painting Group and Chiyang Western Painting Association merge to become Chidao Association

Timeless Elegance In Praise of Love

陳植棋

The scarlet red Chinese-style wedding gown is displayed in front of the sapphire

Chen Jr-Chi

screen. The painter uses dark and thick colors to highlight the model who sits in

夫人像

the foreground, while the model attracts all the focus of viewers.

Woman Portrait

in this painting is the painter’s newlywed wife. She holds a feather fan, gazing

1927

into the camera with dignity and modesty.

油彩、畫布 Oil on canvas 30P

The woman

The two strong scarlet red color-

blocks and the reflective effect of the red screen are used to create a threedimensional quality of the face. The drape of the silk dress, the light feather, and the red gown in the background create the visual intensity between the heavy and the light, the heavy and the thin, as well as the serene and the flying. The

鮮紅的中國式嫁衣高張於寶石藍的帷幕前。畫家用深濃的色彩和誇張的線

artist might want to go with the Han-Chinese style, so he particularly marked

條烘托端坐於前的模特兒。而模特兒逐凝聚舞台的焦點般的呈現在觀賞者

the date “the Summer of Ting Mao” and used the red pen to imitate the seal in

的眼前。此幅作品畫家以新婚夫人為描繪對象。所持羽毛摺扇的女主角兩

his signature. The painting has still left a strong impression on the model. The

眼面對鏡頭，莊嚴中略帶拘謹。畫家用兩筆強烈的鮮紅色塊表達臉部的立

90-year-old Mrs. Chen (Chen Pan Chien-Chien) said: “It was expensive to hire a

體感，兼及紅色布景的反光效果。絲質洋裝的垂墬感羽毛的輕鬆感與背後

model, and it was not easy to find one, so he asked me to do it. I was pregnant at

的大紅衣，一輕一重、一淡一濃，在飛揚與內斂中顯示了豐富的視覺層次。

that time, so I had to cover my belly with a fan. It was a summer afternoon, and

也許為了配合中國式的民族色彩，畫家特別選用丁卯夏日為年款，並以紅

I was very sleepy but I did not dare to tell him. Sometimes I had to pinch my

筆描摹印章圖樣簽名。畫中這位模特兒對這幅畫印象深刻：九十歲的陳老

thigh in case I fell asleep.”

太太（陳潘鶼鶼）說：「因為模特兒難找又貴，只好叫我給他畫。當時懷著身孕，所以拿扇子遮著。夏日午後，昏昏欲睡又不敢說。有時還得暗捏

The painting is not about the beauty of his wife’s appearance, but the personality

自己大腿以免睏著了。」

represented by her as a Taiwanese or a person from Taipei.

Therefore, the

painter depicts the simple facial features and the elegant sitting posture. Then

此作品重點不在妻子的外在美，而是強調她個人所代表的台灣乃至於台北

he intentionally paints the red wedding gown as the background, carefully

人的氣質。所以，畫家簡單的表現其臉部的輪廓與五官特色，及端莊穩重

portraying the decorative patterns on the traditional Taiwanese shirt, the feather

的坐姿後，便刻意地畫出大紅袍嫁衣作為背景，連帶妻子所穿台灣衫上的

fan, and the embroidered shoes. The painting finished in Tokyo seems to be

細碎花紋，羽毛扇與繡花鞋等都仔細地描寫。製作於東京的這幅畫，氣氛

exaggeratedly dramatic, but it indeed captures the Taiwanese-style of celebrative

有些誇張的戲劇性，但毫無疑問是台灣式的喜氣洋洋。

atmosphere.

Timeless Elegance In Praise of Love

陳植棋 Chen Jr-Chi

觀音像 Kuan-Yin Boddhisattva 1927 油彩、畫布 Oil on canvas 10F

It is a bright color combination, including dark red, golden yellow, black, and white, highlighting the painter ’ s distinguished personality and the uncompromised taste of folk art. A Kuan-Yin Boddhisattva statue, which was popular in the local culture of Taiwan at that time, is put in the center. Its shape is simple and yet peaceful. The three persimmons represent the season of autumn in Japan – October and November – when the painter ’ s wife was still waiting for delivery. On the bellyband weaved by his mother in advance are the doll made by

鮮艷的色彩組合，深紅，金黃，黑與白色，烘托出畫家鮮明的個性

the artist and the basket for celebration. The whole painting is full of

與不太妥協的民藝趣味。中央一尊當時流行於台灣民間的瓷製觀音

the artist ’ s personal memory and affection.

菩薩，造型簡單安詳。三粒柿子代表日本秋天十月至十一月的季節，也是妻子正在待產的時刻。母親預先縫製的肚兜上，擺著畫家

Bellyband is one of the favorite subjects of the artist. The white

自己捏製的玩偶，以及代表喜慶的小謝籃，�幅充滿強烈的個人回

bellyband in the image stretches upward, enriching the lines of the

憶與情感。

background. Meanwhile, the black part drops to extend the visual flow downward. The clay stature of Kuan-yin, the bamboo basket, and the

肚兜，是畫家很喜歡運用的題材。畫面中白色向上延伸的肚兜豐富

persimmons construct a big triangle, creating an unsymmetrical but yet

了背景的線條。黑色下垂的另一方肚兜則拉下了視覺的流動。而三

balanced effect with the smaller triangle of the black toy bear and the

個水柿的小三角穩定了重心。泥塑觀音、竹籃與水柿復構成一個大

persimmons on the bottom right. The red background is painted in a

三角構圖。此大三角與右下方的玩具小黑熊及水柿的另一小三角形

simple but yet modest way, highlighting the well-balanced light resource

達到不對稱的平衡效果。簡潔但不失嚴謹的紅色背景不僅反襯了右

from front-right, bringing some sublimation to the Kuan-yin which has

前方勻稱的光源，也讓那尊野獸派表現手法的觀音莊嚴宛然。

been represented in a Fauvism-like style.

Timeless Elegance In Praise of Love

關

於

楊三郎

楊三郎，又名楊佐三郎，生於台北州網溪（今新北市永和區）。小學在讀期間，時常路過一間文具店，店外經常陳列著鹽月善吉的油畫，因此受到影響而立志成為畫家。

楊三郎在家人反對他習畫的情形下，用幫忙家中事業所儲蓄的零用錢，計畫留學日本。 1923 年，楊三郎赴日，先進入日本京都市立美術工藝學校就讀，隔年轉學至京都關西美術院。1927 年，作品《復活節時候》入選台灣美術展覽會並由官方收藏。 1928 年楊三郎學成歸國。 1929 年，其作品《靜物》獲得台展特選第一名。 1932 年，前往法國留學，以作品《賽納河》入選法國秋季沙龍。1934 年返台後，與畫家朋友開始籌備台陽美術協會，隔年，台陽美術協會在台北鐵路飯店正式成立，並開始策畫台美展。 1945 年戰後，楊三郎受聘為省美展的籌備委員，並於同年 10 月在台北市中山堂舉辦首屆省美展。 1991

年，楊三郎美術館開幕。 1995 年，因肝炎辭世，享年八十九歲。

楊三郎 Yang San-Lang

1907~1995

楊三郎的畫作用色鮮豔多變，深受法國印象派影響，尤其受莫內、柯洛兩人影響最深。多以山林風景為主題，其次則為靜物、人物。藝評家林惺獄曾評他 : 「性格豪放爽朗、下筆奔放，不拘泥於細部描繪而追求大張力，因此能夠呈現大自然無比的氣勢。」

About

Yang San Lang was born in 1907 in the Wangshih village of New Taipei City. Yang's interest in painting dated back to his childhood when he always substituted words with drawings in his communications with his peers. At the age of 17, Yang began to assist his family's business of contributing tobacco and wine. Later on, with the money he earned, he left for Japan to pursue the study of painting without his parents' consent. He began the period of painting that is his determination in life then Yang was able to fully concentrated on his study after gaining full understanding and financial aid from his family in Taiwan. Yang graduated from Kanzai Arts College in 1929, seven years after arriving Japan. His works had been selected from the Taiwan Exhibition and Chunyang Exhibition several times, and thus his fine reputation had been built up in both the Taiwanese and Japanese arts worlds.

In 1932, Yang went abroad to France to further his studies, and returned to Taiwan with more than one hundred pieces of paintings two years after. Once again his works were acknowledged by Chunyang Exhibition and Taiwan Exhibition, which had earned a place for him in the highly competitive art world in Taiwan.

Yangâ&#x20AC;&#x2122;s canvas often presented vibrant colors and this style was strongly influenced by the French impressionist movement and Yang particularly looked up to painters such as Monet and Corot. He themes were primary mountains or forest scenery, and then secondary themes were still life and people. Throughout his life, Yang was very persistent in pursuing his work. His works have enriched and enlivened the art world in Taiwan.

Timeless Elegance In Praise of Love

年

表

楊三郎 1907~1995

1907

出生於台北永和

入選日本第十一屆春陽展入選

1915

就讀艋舺公學校（今老松國小）

7 月，遊歷法、英、義、德、奧、荷、瑞、比等國後返台

1920

轉學至末廣高等小學（今福星國小）

1923

3 月私自離家赴日；4 月進入京都美術工藝學校

《南歐坎城》獲第八屆台展特選

1924

轉學至關西美術學校洋畫專科，師承二科會的黑田重太郎、春陽會的田中

《吉普賽夜宿車》、《秋天的蒙斯里》、《眺望古城》、《格那克那》、

善之助

《巴爾特氏的別墅》、《早上的餐桌》、《聖米普爾公園》、《聖塔露其

1927

《復活節時候》入選第一屆台展，並被日本總督上山滿之進收藏

亞寺院》獲日本第十二屆春陽展入選

1928

《靜物》入選第二屆台展

10 月，設「台北西畫研究室」

1934

初次入選日本第六展春陽展與陳澄波、陳植棋等十四位藝術家共組「赤島社」 1929

11 月，創辦「台陽美術協會」、「六硯會」 1935

5 月，《洋墓地之春》、《台灣婦人像》、《飯店的庭院》、《新綠之森》

《台灣風景》入選日本全關西美展

獲日本第十三屆春陽展入選；被推薦成為「春陽會」會友

《靜物》獲第三屆台展特選

10 月，第九屆台展，《母與子》獲推薦，《盛夏淡水》獲無鑑查

《村之入口》、《滿州風景》入選日本第七屆春陽展

參加「第一屆台陽美術展」 1936

參加「第一屆赤島社展」《靜物》獲第四屆台展無鑑查

《華南春天》參展「第二屆台陽美術展」 1937

《風景》參加「第三屆台陽美術展」

《南支鄉社》獲日本第八屆春陽展入選

《烏特里地特之憶》參加「日本第十五屆春陽展」

參加「第二屆赤島社展」

《綠園》參加「第一屆府展」

個展於福建倉前山日本民會館

個展於大阪中之島朝日大樓美術評論社畫廊、鼓浪嶼大和俱樂部

《廈門風景》、《福州郊外》獲日本第九屆春陽展入選

與中山一政合辦「暑期美術研究會」 1938

參加第五屆台展落選，決定赴法深造《教會堂》獲日本第十屆春陽展入選

《海邊之晨》獲第二屆府展推薦《室內》參加「第五屆台陽展」

《塞納河》入選法國秋季沙龍展

《夕暮之庭》獲第一屆府展之無鑑查《劍潭寺》參加「日本第十六屆春陽展」

1939

留歐前個展於台北榮町舊廳舍、台中公會堂 1933

《村》參加「大阪巡迴展」

《老藝人》、《廈門港》獲第四屆台展入選

《婦人像》參展第三屆赤島社展 1932

《凝視》、《夕暮的淡江》獲第十屆台展入選個展於鼓浪嶼大和俱樂部、廈門、廣東、香港

與陳植棋、藍蔭鼎等人於「台灣繪畫研究所」任教

1931

個展於廈門小走馬路青年會、鼓浪嶼大和俱樂部、基隆市公會

自關西美術學院畢業返台，並與許玉燕女士結縭

個展於廈門鷺江旭贏書院三樓講堂與鼓浪嶼大和俱樂部各洋行

1930

個展於台北島都教育會館、台中市民會館

《夏之海邊》、《秋客》參加「東京聖戰美術展」

遊歷法、英、義、德、奧、荷、瑞、比諸國後返台

1941

《森》獲第四屆府展入選

《巴黎初春》、《法國的莫列風景》獲第七屆台展特選

1942

《密集地帶》獲第五屆府展推薦

Curriculum Vitae

《風景》參加春陽展 1946

戰後台灣光復，負責籌辦「台灣美術展覽會」參加「第一屆省展」

1948

《淡水》參加「日本第十四屆春陽展」

1952

與李石樵、郭雪湖於馬尼拉舉辦三人展

1973

於省立博物館舉行「學畫五十年紀念展」

1974

成立「中華民國油畫學會」

1976

任「中華民國油畫學會」的首任理事長

1978

於省立博物館舉辦「楊三郎個展」

1979

於國立歷史博物館舉辦「楊三郎油畫展」

1980

個展於台北太極藝廊

1983

於國立歷史博物館舉辦「楊三郎油畫回顧展」

1985

1 月，參加台陽美協與春陽會於國立歷史博物館合辦的「中日美術展」 9 月，任「慶祝台灣光復四十週年全省美術展」的評議委員 10 月於台北雄獅畫廊舉辦六十年回顧展

1986

個展於台南文化中心、台北雄獅畫廊第十一屆國家文藝獎，獲頒特別貢獻獎

1987

《婦人像》、《早春》、《秋之寒霞溪》參加「中華民國現代十大美術家展」，於日本大津市木下美術館、東京中央別館展出

1989

國立歷史博物館、台北市立美術館，舉辦「楊三郎回顧展」個展於台北、台中高格畫廊

1990

參加台北市立美術館舉辦的「台灣早期西洋美術回顧展」

1991

楊三郎美術館落成

1992

獲頒行政院文化勳章

1993

3 月，於家中輕微中風

1994

9 月，赴德國寫生

1995

3 月，於國父紀念館舉辦「楊三郎近作展」；榮獲總統褒揚令與華夏一等獎章 5 月 6 日因肝炎病逝家中

Timeless Elegance In Praise of Love

ĺš´

čĄ¨

Yang San-Lang 1907~1995

1907

Born in Yonghe, Taipei

1915

Studied at Banga Public School (now named Lao-Song Elementary School)

1920

Transferred to Suehiro High School (now named Fuxing Elementary School)

1923

Went to Japan regardless of family's opposition in March; enrolled in Kyoto

Woman's Portrait, Joint Exhibit, 3rd Exhibition of the Red Island Association Failed in the 5th Taiwan Fine Art Exhibition; decided to do further study in France 1932

Solo Exhibits before heading to Europe at Former Sakae District Government

Prefectural School of Painting in April 1924

1927

Transferred to the Western Painting Program at Kansai Art Academy; studied

Office in Taipei and Taichung Public Hall 1933

1929

Early Spring in Paris, Excellent Award and Scene in France, Selected award, 7th

the Shunyo-kai Art Society

Taiwan Fine Art Exhibition

Easter Time, Selected Award, 1st Taiwan Fine Art Exhibition; collected by

Returned to Taiwan in July after visiting France, England, Italy, Germany, Austria,

Still Life, Selected Award, 2nd Taiwan Fine Art Exhibition

Netherlands, Switzerland and Belgium 1934

Cannes, Southern Europe, Excellent Award, 8th Taiwan Fine Art Exhibition

Cofounded the "Red Island Association" with other 13 Taiwanese artists, including

Mcely in Autumn, Overlook Ancient City, Santa Lucia Temple, Table for Breakfast,

Chen Cheng-Po and Chen Jr-Chi

Selected Award, 12th Shunyo-kai Art Exhibition

Graduated from Kansai Art Academy; returned to Taiwan; married Hsu Yu-Yen

Founded the Taipei Western Painting Research Society in October

Still Life, Excellent Award, 3rd Taiwan Fine Art Exhibition

Founded the Tai-Yang Fine Arts Association and the Liu-Yen Society in November 1935

Island, Keelung Public Hall

Art Exhibition

In May, Spring Graveyard, Taiwanese Woman's Portrait, Garden of Restaurant,

Solo Exhibits at Shiu-Yin Academy in Xiamen and Yamato Club in Gulangyu

Early Green were selected in the 13th Shunyo-kai Art Exhibition; was

Island

recommended and became a member of the Shunyokai Art Society

Joint Exhibit, 1st Exhibition of the Red Island Association

Mother and Son, Recommended Artist Award and Midsummer in Tamsui, Selected

Taught at Taiwan Painting School

Award, 9th Taiwan Fine Art Exhibition in October

Still Life, Appraisal-Free Award, Old Stage Performer and Port of Xiamen,

Joint Exhibit, 1st Tai-Yang Fine Arts Exhibition 1936

Gaze, Tamsui in Dusk, Selected Award, 10th Taiwan Fine Art Exhibition

Nan-Chih-Shiang Village, Selected Award, 8th Shunyo-kai Art Exhibition

Solo Exhibits at Yamato Club in Gulangyu Island, Xiamen, Guangdong, Hong

Joint Exhibit, 2nd Exhibition of the Red Island Association

Kong

Solo exhibit at Tsang-Chian Mountain Japanese Association in Fujin Scenery of Xiamen and Countryside in Fuchu, Selected Award, 9th Shunyo-kai Art Exhibition

Solo Exhibits at Young Men's Association in Xiamen, Yamato Club in Gulangyu

Entry of Countryside and Scenery of Manchukuo, Selected Award, 7th Shunyo-kai

Selected Award, 4th Taiwan Fine Art Exhibition

1931

Solo Exhibits at Taiwan Education Association Building and Taichung Public Hall

Selected Award, 6th Shunyo-kai Art Exhibition

Scenery of Taiwan, Selected Award, Japan Kansai Area Fine Art Exhibition

1930

Seine River, selection of the Autumn Salon in Paris

under Kuroda Shigetaro from the Nika Association and Tanaka Zennosuke from

Kamiyama Mitsunoshin, the Governor-General of Taiwan 1928

Church, Selected Award, 10th Shunyo-kai Art Exhibition

Spring in Southern China, Joint Exhibit, 2nd Tai-Yang Fine Arts Exhibition 1937

Village, Joint Exhibit, Osaka Tour Exhibition Landscape, Joint Exhibit, 3rd Tai-Yang Fine Arts Exhibition

Curriculum Vitae

Selected in the 15th Shunyo-kai Art Exhibition

'Yang San-Lang: 60-Year Retrospective Exhibition' at Lion Art Gallery in Taipei in

Solo Exhibits at Asahi Fine Art Gallery in Osaka and Yamato Club in Gulangyu Island Hold Summer Term Art Research Society together with Nakagawa Kazumasa 1938

Evening Twilight in a Yard, Appraisal-Free Award, 1st Taiwan Governor-General's Fine Art Exhibition

1939

October 1986

Received the 11th National Cultural Award of Outstanding Contribution in Art 1987

Woman's Portrait, Early Spring, Han-Shia Stream in Autumn, Joint Exhibit, 10

Jiang-Tan Temple, Joint Exhibit, 16th Shunyo-kai Art Exhibition

Contemporary Artists Exhibition in Republic of China, at Kinoshita Museum and

Morning at Seaside, Recommended Artist Award, 2nd Taiwan Governor-General's

Tokyo Central Hotel in Japan

Fine Art Exhibition

1989

Indoor, Joint Exhibit, 5th Tai-Yang Fine Arts Exhibition 1941

Seaside in Summer and Visitors in Autumn, Joint Exhibit, Tokyo Holy War Art Exhibition

1942

Forest, Selected Award, 1st Taiwan Governor-General's Fine Art Exhibition

'Yang San-Lang: Retrospective Exhibition', National Museum of History and Taipei Fine Arts Museum Solo Exhibits at Kao-Ko Galleries in Taipei and Kaohsiung

1990

Concentrated Area, Recommended Artist Award, 5th Taiwan Governor-General's

1946

Solo Exhibits at Tainan Cultural Center and Lion Art Gallery in Taipei

Joint Exhibit, 'The retrospective exhibition of early western art in Taiwan', Taipei Fine Arts Museum

Fine Art Exhibition

1991

Yang San-Lang Art Museum was founded

Landscape, Joint Exhibit, Shunyo-kai Art Exhibition

1992

Awarded Culture Medal by the Executive Yuan of Taiwan

In charge of founding 'Taiwan Provincial Art Exhibition' commissioned by

1993

Had a minor stroke in March

Government of the Republic of China

1994

Drawing trip in Germany in September

Joint Exhibit, 1st Taiwan Provincial Fine Arts Exhibition

1995

'Yang San-Lang Recent Works Exhibition', at Sun Yat-Sen Memorial Hall in March

1948

Tamsui, Joint Exhibit, 24th Shunyo-kai Art Exhibition

Awarded Presidential Citation Received First Grade Cathay of Kuomintang

1952

Triple Exhibit with Lee Shih-Chiaou and Kao Hsueh-Hu in manila, Philippines

Died of Hepatitis at home on 6 May

1973

'Exhibition in memory of Learning Painting for 50 years', Taiwan Provincial Museum

1974

Founded the Republic of China Oil Painting Association

1976

Became chairman of the Republic of China Oil Painting Association

1978

'Yang San-Lang Solo Exhibition', Taiwan Provincial Museum

1979

'Yang San-Lang Exhibition of Oil Paintings', National Museum of History

1980

Solo Exhibits at Tai-ji Gallery in Taipei

1983

'Yang San-Lang Retrospective Exhibition of Oil Paintings', National Museum of History

1985

Joint Exhibit, 'China-Japan Fine Art Exhibition', executed by National Museum of History and Tai-Yang Fine Arts Association, in January Became a member of Assessment Commission for 'Taiwan Provincial Fine Arts Exhibition: Celebrating 40th Anniversary of the Retrocession of Taiwan' in September

Timeless Elegance In Praise of Love

楊三郎 Yang San-Lang

南方小姐 Lady from the South 1943 油彩、畫布 Oil on canvas 50F

深紅色的半袖衣，棕梠色的皮膚兒，對應出南國小姐的健美原始風味。四

The dark red medium-sleeve shirt and the tanned skin represent the

周茂盛的盛夏綠葉，亦襯托出台灣本土的民情生態原味。這樣的變化，不

healthy and vigorous quality of the lady from the south. The flourishing

用說，是此時本土西畫家們漸漸覺醒自身繪畫生命回歸本土意識的探索。

green leaves in summer also highlight the primitive and natural

換言之，即是所謂台灣風光的南國特色展現。當然，此中不論平塗的女仕

atmosphere of local Taiwan. It is needless to say that such a transition

顏色或點點畫畫的盛夏綠葉，都有走向於平面性手法的表現，這一點亦是

was resulted from the local Western painters’ gradual realization which

楊氏不同於其前之作的一大轉變，頗有近於中國繪畫的特性之處。

encouraged them to explore their artistic identity by defining the “local.”

In other words, what they pursued was to visualize the nature

of “southness” in Taiwan. Indeed, the colors of the lady or the spots of the summer leaves are expressed in a flat way, like traditional Chinese painting, which is different from Yang’s previous works.

Timeless Elegance In Praise of Love

楊三郎 Yang San-Lang

拿書少女 Girl with a Book 油彩、畫布 Oil on canvas 50F

Timeless Elegance In Praise of Love

楊三郎 Yang San-Lang

母與子 Mother with Child 油彩、畫布 Oil on canvas 12F

Timeless Elegance In Praise of Love

關

於

李石樵

1908 年生於台北縣新庄郡田心村（現為泰山鄉），父親經營米行生意。 16 歲進入台北師範學院就讀，

從石川欽一郎習畫。 1927 年李石樵以經常路過的「台北橋」為題材的水彩作品，入選台展。隨後在石川先生的協助下，他獨自抵達東京，投考東京美術學校。於赴日的第三年（1931 年），順利地考上東京美術學校，也�下其精湛的素描功力。一連串的事故，包括摯友陳植棋的去逝，以及父親與妻子的病情，於 1935 年才自東京美術學校畢業。

1933 年，李石樵 25 歲，就以《林本源庭園》入選帝展。於次年再度入選第 15 屆帝展、第二屆日本美

展等， 1936 年以《楊肇嘉氏之家族》再度入選帝展，成為入選帝展次數最多而獲帝展免審查資格的藝術家。從此在畫壇上逐漸走出了一片屬於自己的天空。

作品尤其以人物畫最為出色，並延伸到群像，加上對時局的更迭有極細膩的觀察，產生了《市場口》

李石樵 Lee Shih-Chiao

1908~1995

這樣的代表作，展現戰後台灣人生活的縮影，這種反應時局的的群像畫，至今尚未有人凌駕於其上。

About

Lee Shih-Chiao was born in 1908, Xinzhuang, Taipei, Taiwan. Though his father was in the rice industry, Lee Shih-Chiao entered the National Taiwan Normal University at the age of 16 and learned how to paint from Kinichiro Ishikawa. Under the teaching of Kinichiro Ishikawa, Lee Shih-Chiao went abroad alone to Tokyo. On his third year in Japan, he was admitted into Tokyo Fine Art College; he had laid a solid foundation in real life sketching techniques. He received the most awards among the first generation of Western-style Taiwanese painters, and even gained the non-examination qualifications of Empire Art Exhibition in Japan. After the war, Lee received a teaching position from National Taiwan Normal University and started to explore Modern Art. He used rational colors and line to create his art works on the canvas. Lee was afraid of being antiquated so he differentiated himself in the mainstream art style. In 1935, he graduated from Tokyo Fine Art College. His most outstanding works are based on portraits, and he started to extend his style to group painting. He has a very attentive way of observing the life around him, therefore making his paintings the quintessential depiction of Taiwanese life after war scenery.

Timeless Elegance In Praise of Love

年

表

李石樵 1908~1995

1908

7 月 13 日，出生於台北州新庄郡田心村（今台北縣泰山鄉）

1917

入山腳公學校（今泰山國小）就讀，喜愛繪畫，課業成績優異

4 月，參展第二屆台陽美展的三件作品中，《橫臥裸婦》及《屏風與裸婦》遭警

1923

自山腳公學校畢業；入台北師範學校就讀

方取締

1924

因日本畫家石川欽一郎抵台任教於師範學校，開始接觸正規美術教育

6 月，《裸婦》參加「第四回童林社展覽」

1936

10 月，《珍珠首飾》獲第十屆台展「台展獎」

與陳植棋等人成立「七星畫壇」；參加「台灣水彩畫會」及師範學校「暑期美術講習會」 1927

《大橋》入選於第一屆台灣美術展覽會西畫科

1928

與周來富女士結婚；台北第二師範學校畢業，進入演習科就讀

1937

1930

覽會，受邀展出作品《初孫》 1939

於第二屆府展榮膺「推薦」級畫家，展出《女二人》並獲「特選」

3 月，石川欽一郎協助賠償免除返台任教義務，取得台北第二師範學校畢

1940

4 月，個展於台中州立圖畫館

業證書；入「川端畫學校」、「本鄉繪畫研究所」及「同舟社」、「吉村

6 月，陳春德於「台灣藝術」介紹楊三郎、李梅樹、廖繼春、李石樵、陳

芳松畫塾」習畫

澄波等五位台陽美協重要畫家

《木影》入選於第三屆台展。

10 月，《溫室》參加「日本紀元二千六百年奉祝展」；於第三屆府展展出油畫 12 月，《柘榴》，響應新體制運動，擬成立新興文化翼贊團體

二次報考東京美術學校，正逢該校廢止特別學生制度而再度落榜 1941

8 月，參加洋畫小品義賣會，與李梅樹、陳澄波等人捐作品 50 件

10 月，《男像》入選第五屆台展西洋畫部入選；《桌上靜物》獲第五回

擔任「皇民奉公會台中州支部文化班附」之職務

3 月，在台家人染患熱腸病相繼病故，休學返台料理家變；4 月，不顧家

於第四屆府展展出《前院的孩子們》 1942

10 月，《人物》與《靜物》於台展獲「無鑑查」

1934

1943

8 月，以七次入選日本帝展、新文展之優異表現，榮獲新文展「無鑑查」

10 月，《林本源庭園》入選「第十四屆帝國美術展覽會」；《室內》獲

展出資格，為第一位獲此特殊之本省級畫家；於第六屆府展展出《坐像》

第七屆台展西洋畫科特選及「朝日獎」

並獲「推薦」 11 月，受新竹市長委託製作該市府評清水源次郎肖像畫

10 月，《畫室》獲第八屆台展西洋畫科「特選」；11 月，與陳澄波、廖 1944

正式定居台中，以畫肖像畫維生 4 月，參加台陽美協於台北公會堂舉行的「十週年紀念展覽會」

3 月，東京美術學校油畫科畢業，決定續留東京

6 月，於鐵道旅館舉辦「台灣美術推進會第一回展」

4 月，個展於台中圖書館 5 月，第一屆台陽美展於台北教育會館舉行

1945

全家因戰火疏散至霧峰

10 月，《編物》入選日本「第二部會展」，《桌上果實圖》入選第九

1946

9 月，參加台灣文化協進會所舉辦的「美術、音樂座談會」；展出油畫巨作

屆台展西洋畫科，作品《閨房》獲「推薦」級畫家榮譽

5 月，台灣美術奉公會成立；由台中北上創作

經石川欽一郎介紹進入岡田三郎助教室

繼春、楊三郎等八人於台北鐵路飯店成立「台陽美術協會」 1935

9 月，參展東京創元會展。於第五屆府展展出《憩》並獲「推薦」 10 月，《閑日》入選日本第五屆新文展

人反對，再度赴日留學 1933

5 月，入選「日本創元社第一回展」

4 月，考取東京美術學校西洋畫科台展「特選台日賞」；於台中、台南兩地舉行巡迴展

1932

10 月，《窗邊坐像》入選第二屆新文展；台展改制為台灣總督府美術展

1 月，抵達日本東京，於繪畫研究所習畫，首次報考東京美術學校落榜

10 月，《編物少女》獲第四屆台展「台日賞」 1931

4 月，參展第三屆台陽美展；個展於台中圖書館 5 月，作品移至台中、台南公會堂展出

1938

《町裡》入選於第二屆台展 1929

2 月，《楊肇嘉家族像》入選於日本第十六屆帝展

《市場口》

Curriculum Vitae

1948

由台中遷居台北，開設畫室教授畫藝台陽美協恢復畫展活動，於中山堂光復廳舉行「光復紀念展暨第十一屆台陽展」

1952

與楊三郎、郭雪湖在馬尼拉舉行三人展

1958

6 月，在台北中山堂舉行個展，展出現代畫探索成果

1963

8 月，出任師範大學藝術系副教授

1964

兼任國立台灣藝術專科學校美工科教職

1969

11 月，於台北市世紀畫廊舉行個展，著重破壞舊有的繪畫觀念，摒棄非繪畫性的冗雜內容，使繪畫反璞歸真於台北省立博物館舉行個展

1972

3 月，於台北省立博物館舉行個展

1974

7 月，自國立台灣師範大學退休 8 月，擔任私立中國文化大學及國立藝專兼任教授 11 月，與其他畫家設立「芳蘭美術會籌備處」

1975

3 月，在畫室召開會議，報告「芳蘭美術會第一屆展覽會」各項事宜

1976

5 月，於省立博物館舉行個展

1979

8 月，於省立博物館舉行個展 9 月，與葉火城等十五位中部美術家於省立博物館舉行「第一屆葫蘆墩美術研究會作品展覽」

1981

10 月，台北市阿波羅畫廊舉辦「李石樵個展」

1982

6 月，原畫室為地主收回，私人授課終止，遷居台北市寧安街 7 月，辭卸教職，赴美西雅圖探視次女

1984

9 月，於台北阿波羅畫廊舉行個展

1985

旅居西雅圖，與次女同住

1986

11 月，於台北市阿波羅畫廊舉行個展 12 月，參加社教館舉行之「芳蘭美展第十四屆紀念展」

1987

台北市東之畫廊創立，為其開設專室

1988

10 月，於台北市立美術館舉行「沉思、領悟與創作—李石樵的繪畫世界」；展出 1935 年至 1987 年作品

1992

7 月，於台北市阿波羅畫廊樓上成立「李石樵美術館」，館藏作品 400 件

1995

7 月 7 日，病逝於美國紐約雪城

Timeless Elegance In Praise of Love

Lee Shih-Chiao

Lee Shih-Chiao 1908~1995

1908

Born on 13th of July in Tianxin Village, Xinzhuang County, Taipei State (now Taishan

1934

Township of Taipei County) 1917

November - Formed the Tai-Yang Arts Association at the Railway Hotel together with

Entered Shanjiao Public School (now Taishan Elementary School) where he showed a passion for drawing and performed well academically

eight others, including Chen Cheng-Po, Liao Chi-Chun, and Yang San-Lang 1935

March - Graduated from Tokyo Gakugei University and decided to continue to stay in

1923

Graduated from Shanjiao Public School and entered Taipei Normal Education School

Tokyo

1924

Began formal art training under Ishikawa Kinichiro at Taipei Normal Education School;

April - Solo exhibition at Taichung Library

Form Seven Stars Painting Group with Chen Jr-Chi and others; Participated in Taiwan

May - First Tai-Yang Art Exhibition was held at the Taipei Education Center

Watercolor Society and Summer Art Salon, Taipei Normal Education School

October - Knitting entered the Second Ministry Exhibition. Fruit on Table entered the

1927

Big Bridge was featured in the Western painting division of the 1st Taiwan Art Exhibition

1928

Married Zhou Lai-Fu; Graduated from the Second Taipei Normal School and enter

9th Taiwan Art Exhibition; Boudoir was honored with Recommendation Award 1936

vocational department

1929

April - Participated in the Second Tai-Yang Art Exhibition. Among the three works featured, Reclining Nude and Naked Women in Front of Byobu were banned by the

January - Arrived at Tokyo, Japan, and practiced painting at a painting institute; failed to

police

admittance examination to the Tokyo Gakugei University on the first attempt

Jun - Nude Woman was featured at the Forth Hui Tong Lin She Exhibition

March - Was able to pay of his fees with the help of Kinichiro Ishikawa and returned to

October - Pearl Jewelry was award the Taiwan Art Exhibition Award at the Taiwan Art

Taiwan to take on a teaching post. Obtained diploma from the Second Taipei Normal

Exhibition 1937

Doshusha, and the Yoshimura Yoshimatsu studio

Applied to the Tokyo Gakugei University for the second time. Admission was rejected,

1933

October - Sitting by the Window entered the Second Shin-Bunten Exhibition The Taiwan Art Exhibition was renamed to the Fine Arts Exhibition of the Government-

October - Knitting Girl was awarded the Taiwan-Japan Fine Arts Award at the 4th

general of Taiwan, for which the work First Grandson was a special feature 1939

April - Admitted to the Western Painting Division of the Tokyo Gakugei University October - Male Figure entered the 5th Taiwan Art Exhibition, Western painting division.

1932

May - Works were exhibited at the Taichung and Tainan Public Hall 1938

as the school stopped admitting special students

Taiwan Art Exhibition 1931

April - Participated in the Third Tai-Yang Art Exhibition; Solo exhibition at Taichung Library

Tree Shadow entered the 3nd Taiwan Art Exhibition 1930

February - The Family of Yang Zhaojia entered the Sixteenth Imperial Exhibition in Japan

Downtown entered the 2nd Taiwan Art Exhibition

School. Practiced painting at Kawabata Gagakou, Hongo Painting Research Institute,

Honored as Recommended Artist Award at the Second Fine Arts Exhibition of the Government-general of Taiwan; Two Women was honored with the Special Selection award

1940

April - Solo exhibition at Taichung State Library

Still Life on the Table was award the Special Taiwan-Japan Fine Arts Award during the

June - Mentioned along with five other Tai Yang Arts Association artists, including

5th Taiwan Art Exhibition. Conducted touring exhibition in Taichung and Tainan

Yang San-Lang, Lee Mei-Shu, Liao Chi-Chun, Lee Shih-Chiao, and Chen Cheng-Po, in

March - Returned to Taiwan to take care of family member who contracted enteropathy

Chen Chun-Deâ&#x20AC;&#x2122;s book, Taiwanese Art

April - Returned to Japan to complete his education against the wishes of his family

October - Greenhouse was featured in the Japan Commemorative Exhibition; Oil

October - Human Figure and Still Life led the artist to be given the honor of permanent

painting, Pomegranate, was shown at the Fine Arts Exhibition of the Government-

exemption from censorship at the Taiwan Art Exhibition

general of Taiwan

Recommended by Ishikawa Kinichiro to became classroom assisting of Okada Saburo

December - Founded the New Culture Promotion Group in response to the Shin Taisei

October - The Lin Family Residence was featured in the Fourteenth Imperial Exhibition;

movement

Indoors was award the Taiwan-Japan Fine Arts Award at the 7th Taiwan Art Exhibition

October - Studio was award Special Selected at the 8th Taiwan Art Exhibition

1941

May - Nominated to enter the First Nihon Sogensha Exhibition

Curriculum Vitae

Auguest - Particiatped in the small scale Western painting auction. Together with Lee

held concepts about painting; focused on the sincerity of a painting, rather than its

Mei-Shu, Chen Cheng-Po, and others, donated a total of 50 artworks for charity

complexities

Served as Head of Culture, Kominhokokai Tiachung Division

1942

Held solo exhibition at Taiwan Provincial Museum

Children in the Yard, featured in the Forth Fine Arts Exhibition of the Government-

1972

March - Held solo exhibition at Taiwan Provincial Museum

general of Taiwan

1974

July - Retired from National Taiwan Normal University

September - Participated in the Tokyo Sogen-kai-ten. Rest was honor with

August - Served as part-time professor at the Chinese Culture University and National

Recommendation Award at the Fifth Fine Arts Exhibition of the Government-general of

Taiwan University of Arts

Taiwan

November - With other painters, founded the Fang Lan Art Association Preparatory

October - Weekday entered the Fifth Shin-Bunten Exhibition, Japan 1943

May - Moved from Taichung to Taipei to practice art

Office 1975

August - Works entered the Imperial Exhibition and Shin-Bunten Exhibition for the

1944

March - Held meeting at his studio to decide on the guidelines for the First Fang Lan Art Association Exhibition

seventh time. Exempted from censorship at Shin-Bunten Exhibition, becoming the first

1976

May - Held solo exhibition at Taiwan Provincial Museum

Taiwanese artist to do so. The work, Sitting Figure, was awarded the Recommendation

1979

August - Held solo exhibition at Taiwan Provincial Museum

Award Fine Arts Exhibition of the Government-general of Taiwan

September - Took part in the First Hu Lu Tun Artistic Research Association Exhibition,

November - Commissioned by Hsinchu mayor to create a portrait of Shimizu Genjiro

which also featured Ye Huo-Cheng and other fifteen artists and held at the Taiwan

for the city hall

Provincial Museum

Formally settle in Taichung, where he made a living on painting portraits

1981

October - Held Shih-Chiaou Lee Solo Exhibition at Apollo Art Gallery, Taipei

April - Participated in the Tenth Anniversary Exhibition hosted by the Tai Yang Arts

1982

June - Studio was closed down, ending all private lessons. Moved to Ning'an Street,

Association at the Taipei Public Hall

Taipei City

June - Held the First Art Advancement Association of Taiwan Exhibition at Railway Hotel

July - Quit teach post and travel to Seattle to visit his second daughter

1945

Family was separated due to the war

1984

September - Held solo exhibition at Apollo Art Gallery, Taipei

1946

September - Participated in the Art and Music Seminar organized by the Art

1985

Moved to Seattle to live with his second daughter

Advancement Association of Taiwan; Exhibited large scale oil painting, Market

1986

November - Held solo exhibition at Apollo Art Gallery, Taipei

1948

Moved from Taichung to Taipei, where started an art studio for teaching painting

December - Participated in Fourteenth Fang Lan Art Association Memorial Exhibition

Tai Yang Arts Association resumed its exhibition events and held the Liberation

at the Taipei Cultural Center

Memorial Exhibition - Eleventh Tai Yang Art Exhibition at the Guangfu Auditorium,

1987

East Gallery opened in Taipei, which include a private studio

Zhongshan Hall

1988

October - Throughts, Realizations, and the Creative Process - Lee Shih-Chiaoâ&#x20AC;&#x2122;s World

1952

Held exhibition with Yang San-Lang and Kuo Hsueh-Hu at Manila

of Painting was held at Taipei Fine Arts Museum, showcasing works created between

1958

June - Held solo exhibition at Taipei Zhongshan Hall, showcasing his modern art achievements

1935 and 1987

1963

August - Became associate professor at the art department of the National Taiwan

1992

Normal University 1964

Became part-time instructor at the arts and crafts department of the National Taiwan

July - Lee Shih-Chiao Musuem was established in the Apollo Art Gallery. Four hundred of Leeâ&#x20AC;&#x2122;s paintings were part of its collection

1995

Passed away due to illness in Syracuse, New York, on July 7th

University of Arts 1969

November - Solo exhibition at Century Gallery, Taipei. Abandoned previously

Timeless Elegance In Praise of Love

李石樵 Lee Shih-Chiao

郊遊 Excursion 1980 油彩、畫布 Oil on canvas 30F

一九八〇年代李石樵停止抽象試驗，再度回到具象。此時，他以青翠、薄塗為絕技，經營人物佈局，畫出中產階級的休閒生活。《郊遊》的背景好像塞尚（ Paul Cézanne 1839— 1906 ）的構圖，畫中九人或坐或立，各有所思。李石樵的畫表現人物佈局的企圖，顯然遠超過郊遊的歡樂氣氛。這是高度理想的畫面，並非現場感性的即景。

In the 1980s, Lee Shih-Chiao took a break from his Abstract Art exploration and returned to Realism again. During this period of time, the use of verdant color and flat paint became his trait while working on the composition of figures, through which he visualized the bourgeois’ leisure life. The background of Excursion is like Paul Cézanne’s composition. The nine people in the painting are either standing or sitting. All of them seem to be deep in various thoughts. Lee ShihChiao’s painting demonstrates his ambition in the composition of figures instead of capturing the joyful atmosphere of an excursion. It is an image of the ideal rather than the scene inspiring the emotions.

Timeless Elegance In Praise of Love

關

於

劉啓祥

1910 年生於台南柳營望族世家。 1923 年柳營公學校畢業後即赴日就讀青山學院中學。隨後進入川端畫

學校學習， 1927 年考取文化學院洋畫科，受到石井柏亭、有島生馬的指導。由於師承新派和西方美術潮流的影響之下，作品選定「二科會」為舞台， 1931 年畢業前已入選過二科會及台展。為了進一步直接瞭解西洋繪畫，於 1932 年與楊三郎結伴同行赴法深造。

到了巴黎第二年從名家畫作切入的臨摹研究，對馬內及塞尚的作品即為重視，從中研究其造形及賦色的技法，並加以融會貫通。1933 年以《紅衣小姐》一作入選巴黎秋季沙龍。1935 年劉啓祥回日本結婚成家，定居東京。 1938 年《肉店》、 1940 年《魚店》取材庶民生活的作品充滿巴黎派風情。

1946 年劉啓祥重回台灣，回台後一直螫居南台灣。他的留日及留法的資歷使他成為�省美展及台陽展

的評審委員，也為了推動南台灣的美術風氣，領銜成立台南美術研究會、高雄美術研究會以及台灣南

劉啓祥 Liu Chi-Hsiang

1910~1998

部美術展覽會。回台後的畫風顯然受到鄉土自然及人文環境的影響而有轉變，但筆觸及色彩仍然透現著優雅的法蘭西情調。晚年幽居在高雄縣大樹鄉小坪頂， 1998 年病逝，享年 89 歲。

About

Liu Chi-Hsiang was born in 1910, Liouying, Tainan, Taiwan. With a good family background, he entered high school program in Japan in 1923. He graduated from Tokyo Institute of Culture in 1931. Due to the growing trend in Western art and the rapidly diversifying types of art, Liu went to France with Yang San Lang for further study in 1932 encouraged by his teacher Ikuma Alishima’s recommendation.

During his second year in France, he researched into the works of the French painters, particularly Manet and Cézanne whose color and composition techniques he regarded highly. In 1933, one of Liu’s works Lady in Red Shirt entered into the Salon D’Automne Paris. He returned to live in Japan in 1935 and continued to create works filled with Parisian mood.

In 1946, he finally returned to his home country, Taiwan. Unlike other artists coming back from France, Liu was the only one who chose to stay in the South of Taiwan instead of staying in the capital city Taipei. With his unique experiences of staying abroad in Japan and France, he was selected as an art critic for the Taiwan Fine Art Exhibition.

Liu promoted the theme of Taiwanese indigenous scenery and the small village in particular. With elegant and fresh colors, the country scenery of his late paintings seems like villages of the foot of Alps.

Timeless Elegance In Praise of Love

年

表

劉啓祥 1910~1998

1910

2 月，生於台南州新營郡查畝營（台南縣柳營鄉）

1917

3 月，就讀柳營公學校，並在家中私塾學習，受公學校美術老師陳庚金之勉勵

1923

3 月，畢業於柳營公學校

1938

9 月，《肉店》、《坐婦》入選二科會 1940

3 月，「立型洋畫同人展」第一回展，分春秋兩季展出

9 月，赴日留學，隨二姐夫陳端明前往東京，就讀於美國基督教教會所創

9 月，《畫室》入選二科會

辦的東京市青山學院中學部

4 月，留歐作品個展於教育會館舉行

1927

進入川端畫學校研究，對在野最大美術團體「二科會」風格最傾慕

10 月，「立型洋畫同人展」第二回展於東京銀座三昧堂展出；《店先》

1928

4 月，考入日本東京市文化學院美術部洋畫科，從石井柏亭、有島生馬、山下

參展「日本紀元二千六百年奉祝展」

新太郎習畫

1941

4 月，成為台陽美術協會會員

1930

9 月，《台南風景》入選二科會

1931

6 月，日本東京文化學院美術部洋畫科第四屆畢業

1943

9 月，《野良》、《收獲》獲得第三十屆二科展的「二科賞」，被推薦為

《札幌風景》、《持曼陀林的青年》入選第五屆台展

1945

二科會會友日本無條件投降，台灣光復

1 月，留法前個展於台灣日日新報社展出，有島生馬特地來台慶賀，並囑

1946

闔家返台，寓柳營故居

1932

因家庭變故，暫時退出畫壇

託劉啟祥到達法國之後，可拜訪海老原喜之助

9 月，出席由台灣文化協進會主辦之「美術、音樂座談會」

6 月，與楊三郎搭「照國丸」同船留法 1933 1934 1935 1936

10 月，任第一屆省展評審委員

7 月，抵達法國馬賽港，由顏水龍接待

1948

移居高雄三民區

在羅浮宮臨摹莫內、塞尚的作品

1950

日籍妻子笹本雪子去世

10 月，《紅衣》入選法國巴黎秋季沙龍

1952

再續弦陳金蓮女士

臨摹雷諾瓦、柯洛的作品。遊歷義大利、比利時、荷蘭、英國、摩納哥及法國南部

與劉清榮等人創立「高雄美術研究會」 1953

秋，自法回日，設畫室於東京市郊目黑區柿之木

11 月，舉辦首屆「南部展」 1954

遷居高雄縣大樹鄉小坪頂

3 月，於東京銀座三昧堂舉行留歐個展

1955

首屆「高雄美術研究會」會員展第二回「紀元美術展」在 3 月於台北市中山堂展出，7 月移至高雄台灣公

9 月，《蒙馬特》、《窗》入選二科會 1936

8 月，與顏水龍等人成立「台灣南部美術協會」

《女》入選第九屆台展 4 月，於台灣教育會館舉行留歐個展與日本小姐笹本雪子結婚，定居於東京郊目黑區

會舉行「南部巡迴展」 1956

3 月，留歐作品個展於東京銀座三昧堂舉行

與四位日本畫家共創「立型畫展」

10 月，於高雄市新興區成立「啟祥美術研究所 I」，並接受方昭然邀請，設分所於台南市孔廟，維持一學期（四個月）後結束

4 月，留歐作品個展於教育會館舉行

1958

任高雄市私立三信高商職校美術社指導老師

9 月，《肉店》入選二科會

1960

任高雄醫學院「星期六畫會」指導老師

Curriculum Vitae

1961

4 月，於高雄市三民區故宅開設「啟祥畫廊」，在此舉行個展

1962

11 月，於台灣新聞報文化服務中心畫廊舉行個展

1993

4 月，藝術家出版社出版《台灣美術全集 11—劉啟祥》

1965

任教於台南家專日間部

1994

6 月，獲頒第一屆「高雄縣美術獎」

於台北省立博物館舉行第三屆個展

1998

4 月 27 日，病逝於高雄縣小坪頂的家中，享年九十歲

1966

於台北市時代畫廊舉辦「劉啟祥父子聯展」

與長男共設「啟祥美術研究所 II」於高雄市前金區創辦首屆「十人畫展」為高雄市議會繪製《阿里山日出》及《岩》任教於東方工專夜間部

1969

於高雄熱海別館阿波羅畫廊（畫友施亮所開設）個展

1975

始任「中華民國油畫學會」常務理事

1976

任全省美展評議委員

1977

得血栓症，之後逐漸痊癒

1980

5 月，於台北太極藝廊舉行回顧展

1981

9 月，於高雄大統百貨公司畫廊舉行「畫業五十年回顧展」

1982

3 月，於台中名門畫廊舉行回顧展始任第四屆「中華民國油畫學會」理事長 9 月，於台北國立歷史博物館國家畫廊舉行「劉啟祥油畫展」

1983

8 月，於高雄一品畫廊舉行個展 9 月，於台北維茵藝廊舉行個展

1984

任「中華民國油畫學會」名譽理事長

1985

2 月，於高雄市中正文化中心舉行「劉啟祥回顧展」

1987

參加文建會主辦「中華民國現代十大美術家聯展」《肉店》、《王小姐》、《橙色旗袍》於日本東京市與木津市展出 9 月，於台中市高格畫廊舉行個展

1988

8 月，於台北市立美術館舉行「生命之歌：劉啟祥回顧展」，展出作品六十三件

1990

《魚店》、《紅衣》參加台北市立美術館所舉辦之「台灣早期西洋美術回顧展」

Timeless Elegance In Praise of Love

Liu Chi-Hsiang

Liu Chih-Hsiang 1910~1998

1910

February - Born in Cha Mu Camp, Tianan State (Liuying Township, Tianan County)

March - Works created in Europe were exhibited at Zanmaido, Ginza, Tokyo

1917

March - Enrolled in Liuying Public School and received private tutoring at home

April - Solo exhibition at Taiwan Education Hall, showcasing works created in Europe. September - Butchery entered the Nika Association Exhibition

as well. Encourage by art teacher, Chen Gen-Gjin 1923

March - Graduated from Liuying Public School

1938

1927

of Aogaku, an American Christian school

1939

September - Butchery and Studio entered the Nika Association Exhibition

Entered Kawabata Art Group to further his studies. Admired the art style of

1940

March - First Tachigata Western Painting Exhibition was held in Spring and Autunm

alternative art group, Nika Association

September - Studio entered the Nika Association Exhibition

April - Entered the Western painting department of the Bunka Gakuin, where he

April - Solo exhibition at Taiwan Education Hall, showcasing works created in Europe

studied painting under Ishii Hakutei, Ikuma Arishima, and Yamashita Shintaro

Octoboer - Second Tachigata Western Painting Exhibition was held at Zanmaido,

1930

September - Tainan Landscape entered the Nika Association Exhibition

Ginza, Tokyo. The work, Storefront, was featured at the Japan Commemorative

1931

June - Graduate from the Bunka Gakuin and was of the 4th graduating class of the

1928

Western painting department

Exhbition 1941

1932

January - Before traveling to France, held solo exhibition at Taiwan Daily

1943

1934 1935 1936

occation and advised Liu to visit Ebihara Kinosuke in France

1945

Japan unconditionally surrendered and Taiwan was liberated

June - Travel by boat to France together with Yang San-Lang

1946

Retuned to his hometown of Liuying, Taiwan

July - Arrived at Marseilles, France, where they were received by Yen Shui-Long

September - Spoke at the Art and Music Seminar organized by the Taiwan Culture

Studied Monet and Cezanneâ&#x20AC;&#x2122;s works at the Louvre Museum

Advancement Society

October - Red Coat entered Salon d'Automne, France

October - Served as review committee member for the First Taiwan Provincial

Studied Renoir and Corotâ&#x20AC;&#x2122;s artworks. Traveled to Italy, Belgium, the Netherlands,

Fine Arts Exhibition

Great Britain, Monaco, and southern France

1948

Moved to San Ming District of Kaohsiung

Autumn - Travelled from France to Japan, where he set up a studio in Kakinoki, Tokyo.

1950

Wife, Yukiko, passed away

Woman entered the Ninth Taiwan Exhibition

1952

Remarried to Chen Jin-Lian Found the Kaohsiung Art Research Association together with Liu Ching-Jung and others

March - Solo exhibition at Zanmaido, Ginza, Tokyo, showcasing works created in Europe April - Solo exhibition at Taiwan Education Hall, showcasing works created in Europe

1936

September - Fields and Harvest were awarded the Nika Award at the Thirtieth Nika Association Exhibition; was recommended as a member of the Nika Association

Newspaper Exhibition, Taiwan. Ikuma Arishima travelled to Taiwan for this

1933

April - Became member of the Tai Yang Arts Association Withdrew from the association due to family maters

Saporo Landscape and Young Mandolin Player entered the Fifth Taiwan Exhibition

Found the Tachigata Exhibition, together with four other Japanese painters September - Butchery and Sitting Lady entered the Nika Association Exhibition

September - Went to Tokyo with his brother-in-law and enrolled the middle school

1953

August - Established the Taiwan Southern Art Association together with Yen Shui-

September - Montmartre and Window entered the Nika Association Exhibition

Long and others

Married Japanese lady, Sasamoto Yukiko, and reised in theTyoko suberb of Meguro

November - Held first Souther Art Association Exhibition

Curriculum Vitae

1954

Moved to Xiaopingding of Dashu Township, Kaohsiung

1955

First exhibition by members of Kaohsiung Art Research Association

1956

1983

August - Solo exhibition at Yi Ping Gallery, Kaohsiung September - Solo exhibition at Wei Yin Art Gallery

March - Exhibited at Era Art Association Exhibition, Taipei Zhongshan Hall; July

1984

Served as honorary chairman of Creative Oil Painting Society of R.O.C.

- Southern Touring Exhibition, Kaohsiung Public Hall

1985

February - 'Liu Chih-Hsiang Retrospective Exhibition' at Kaohsiung Chiang Kaishek Cultural Center

October - Founded Liu Chih-Hsiang Art Institute, and was invted by Fang JauRan to establish a branch near the Tainan Confucius Temple. The Institute was

1987

Participated in the Top Ten Modern Art Artist of R.O.C. hosted by the Council for

operational for one semester (four months) before it closed down

Cultural Affairs

1958

Served as art instructor at San-xin Vocation school, Kaohsiung

Butchery, Miss Wang, and Organce Cheongsam were exhibited at Tokyo and

1960

Served as the instructor of the Saturday Day Painting Club at the Kaohsiung Hospital

Kizugawa, Japan

1961

April - Opened the Liu Chih-Hsiang Gallery at San Ming District, Kaohsiung City,

September - Solo exhibition at Gao Ge Gallery, Taichung

and held solo exhibition there 1962

November - Held solo exhibition at the NewsTaiwan Culture Center

1965

Taught at Tainan College of Home Economics

1988

Fine Arts Museum, featured a total of sixty three works by Liu 1990

Fish Shop and Red Clothes featured at 'The Retrospective Exhibition of Early Western Art in Taiwan' at Taipei Fine Arts Museum

Held third solo exhibition at the National Taiwan Museum 1966

August - The song of life : a retrospective exhibition of Liu Chih-hsiang, Taipei

Liu Chih-Hsiang and Son Group Exhibition at Shidai Gallery, Taipei

Set up the Liu Chi-Hsiang Art Institute II at Cianjin District, Kaohsiung, together with his eldest son

1993

April - Taiwan Fine Arts Series (11)- LIU Chih Hsiang, Artist Publishing Co.

Held the first Ten-Person painting exhibition

1994

June - Won the First Kaohsiung County Art Award

Created the works, Alishan Sunset and Rocks, for the Kaohsiung City Council

1998

On April 27th, Liu passed away at his home in Xiaopingding due to illness. He

Taught at the night school of Tung Fang Design University 1969

Solo exhibition at Re Hai Hotel, Apollo Gallery (opened by friend Liang-Sou Shi)

1975

Became director at the Creative Oil Painting Society of R.O.C.

1976

Served as review committee member for the Taiwan Provincial Fine Arts Exhibition

1977

Diagnosed with thrombosis, from which he gradually recovered

1980

May - Retrospective exhibition held at Taichi Gallery

1981

September - 'Fifty Year Retrospective Exhibition' held at Great World Department

was ninety years of age

Store Gallery, Kaohsiung 1982

March - Retrospective exhibition at Ming Men Gallery, Taichung Served as chairman of the Fourth Creative Oil Painting Society of R.O.C. September - 'Liu Chih-Hsiang Oil Painting Exhibition' at National Museum of History

Timeless Elegance In Praise of Love

劉啓祥 Liu Chi-Hsiang

白衣少女 Young Girl in White Dress 1986 油彩、畫布 Oil on canvas 30F

以畫筆創作的女子像，畫面多半流露溫和親切的氣質。晚年的作品，陽光更被加以強調，於是女子左肩及膝蓋上的一方陽光，就是畫家刻營造的焦點。作品意象雖然十分單純，但含蓄幽雅的詩情，卻在精練的形式語中信手拈來。

The painted woman portrait usually expresses the figure’s gentle and intimate personality. In his late paintings, the sunlight has been more emphasized. The sunlight on the girl’s left shoulder and her knees thus become the focus highlighted by the painter. The imagery of the painting might seem simple, but the implicit poetic touch is naturally revealed in such a refined style.

Timeless Elegance In Praise of Love

關

於

陳德旺

1910 年生於台北永樂町，家境富裕，太平公學校畢業後近日專收日籍學生的台北一中。 1929 年進入倪

蔣懷主持的台灣美術研究所學畫，並與張萬傳結為同好。於 1930 年前往東京習畫，並未進入正規學校，先後進入本鄉繪畫研究所、川端畫學校、二科會研究所、津田畫塾等私人創辦的美術機構研習，滯留於日本學習美術 12 年後回台，與畫壇同儕組織具有非主流的「 MOUVE 美術集團」，後改名「台灣造形美術協會」及「紀元美術展覽會」。

1956 年起，除了在開南商工、大同中學、延平中學任教以外，幾乎集中精神專注於繪畫的創作研究。

他最推崇後印象主義大師塞尚的藝術觀，致力繪畫純粹性本質的探索，沉浸在不斷的學習、嘗試及研究中，往往同一題材的靜物或風景，一再重覆的描繪，以探尋與提煉精純的內在。只要一拿起畫筆，立刻就墜入色彩、靈性、思想及空間的陳德旺，也得到許多畫壇晚輩的敬意及追隨。深鎖在論畫、思畫和繪畫的天地之中，執著、耿介、純粹，永遠學習的態度，已成了他作品的特徵。

陳德旺 Chen Te-Wang

1910~1984

陳德旺未開過個人展覽， 1984 年死於胰臟癌，享年 75 歲。雖然留下的作品並不多，但這種對藝術虔敬誠懇的態度，實為現代少有的典範。

About

Chen Te-Wang was born into a well-off family in 1910, Yong Le quarter, Taipei, Taiwan. He attended Taiwan Institute of Fine Arts to learn painting. Kinichiro Ishikawa and Chen Jr-Chiâ&#x20AC;&#x2122;s were both teaching there at that time.

By Chen Jr-Chiâ&#x20AC;&#x2122;s encouragement, in 1930 he went to Japan to study art. However, after coming back to Taiwan for many years, he regretted about choosing to go to Japan to learn western art instead of going to Paris then. He dedicated himself to oil paintings throughout his life. Since 1956 Chen became art professor in several different Taiwanese high schools. Chen spent most of his time in researching art. He highly adored the Post-Impressionist painter, Cezanne, whose artistic perspective, natural essence and simplicity intrigued him. Chen continued to approach and embellish the subject matter of still life, whenever he picked up a brush, he would indulge himself in colors and contemplation. His works had gained respect from the more senior artists. By appreciating his art, viewers could find his persistence, honesty and purity.

Timeless Elegance In Praise of Love

年

表

陳德旺 1910~1984

1910

九月初十生於台北市迪化街

1918

入太平國小就讀，自幼喜愛畫畫，在學校所畫的畫，曾寄到日本參展

MOUVE 改名「台灣造型美術協會」

1924

考進台北第一中學（今為建國中學），美術老師為鹽月桃甫

3 月，於「第一屆台灣造型美術協會展」展出《淡水風景》、《夜的肖像》、

1926

赴天津，在同文書院讀了一個多學期

《台中風景》、《公園風景》、《船》

參觀北京藝專，任教的外籍老師多已離去，陳德旺接受他姨丈建議，計劃

為了逃避兵役，到紅十字醫院當會計，有了軍籍證明而免兵役

1941

前往東京習畫 1927

《南國風景》入選第四屆「府展」

由台灣新報記者引介，進入石川欽一郎設立的「大稻埕洋畫研究所」習畫，

1945

家人相繼離世，暫停作畫

與洪瑞麟、張萬傳為同學

1951

與張萬傳、洪瑞麟重新加盟「台陽美協」

1928

赴日留學，12 月抵東京

1930

拜訪帝國美術學校（今為武藏野大學）教務主任，最後未去就讀；獨立美

5 月，於「第十四屆台陽美展」展出《風景》等五件作品 1952

術協會在朝日新聞社舉行野獸派畫風的演講會，決意不進入美術學校，遊走各大畫塾，自由遊學

任職開南商工職校夜間部美術教員 5 月，於「第十五屆台陽美展」展出《暮色》、《春》等三件作品

1953

5 月，於「第十六屆台陽美展」展出《風景 a》、《風景 b》、《風景 c》、

1931

在「本鄉繪畫研究所」、「川端畫學校」學畫

1932

在「二科會研究所」學畫

1933

到津田畫塾跟隨安井曾太郎、津田青楓學畫

1935

《裸女仰臥》獲得《朝日賞》

7 月，於「第十七屆台陽美展」展出《風景》、《自畫像》；與洪瑞麟、

《桌上靜物》入選第一屆「台陽展」，被推薦為台陽美術協會會友

廖德政、張萬傳、金潤作、張義雄合組「紀元美術會」；於「第一屆紀元

1936 1937 1938

1939 1940

《人像》兼任私立延平中學夜間部美術教員 1954

由李梅樹、李石樵引介，至吉村芳松畫塾學畫《青》入選第十屆台展

與林玉霞女士結婚，婚後定居三重市

美術展」展出《風景 a》、《風景 b》、《人物》 1955

3 月，於「第二屆紀元美術展」展出《花》、《人物 a》、《人物 b》、《風

《新綠》等十一件作品參加「第三屆台陽展」

景》、《靜物》

9 月，與洪瑞麟等人共組「一洋畫集團（MOUVE 美協）」

7 月，於「紀元美術展南部巡迴展」展出《作品 a-h》八件作品參展

與洪瑞麟退出台陽美術協會

8 月，於「第十八屆台陽美展」展出《靜物》、《風景》參展

3 月，於「第一屆 MOUVE 巡回展」展出《安平風景》、《習作》、《試

再度退出「台陽美協」

作》、《畫家》、《郊外風景》、《靜物》等九件作品

獲「第四屆台灣省教員美術展覽會」西畫部第一名主席獎

第二屆 MOUVE 巡回展

任「台灣省文化協進會」美術小組委員，「中國美術協會」會員；邀聘為

《競馬場風景》入選第二屆「府展」

「台灣省文化協進會」星期寫生會導師

舉行「MOUVE 三人展」

11 月，於「第三屆紀元美術展」展出《人物》、《海邊》、《水果》、《風

《水邊》入選第三屆「府展」 11 月，返台定居

第二次世界大戰即將爆發，日本與英美交惡，社團忌用西洋文字，

景》、《淡水河》、《愛河》、《桌上》 1956

第五屆「台灣省教員美術展覽會」西畫部優選

Curriculum Vitae

8 月，任職大同中學 1970

任第二屆「台北市美術展覽會」西畫部評審委員第六屆「全國美展」邀請免審參展

1971

任第三屆「台北市美術展覽會」西畫部評審委員

1972

任策四屆「台北市美術展覽會」西畫部評審委員國立台灣藝術館「百人西畫展覽」邀展

1973

3 月，與張萬傳、洪瑞麟、廖德政合辦「西畫小品欣賞會」，展出《人像》、《風景》、《靜物》等六件作品 8 月，由大同中學退休謝絕酬應，閉門作畫，走純粹研究的道路

1974

9 月，在哥雅畫廊與洪瑞麟等舉辦「第四屆紀元美展」

1975

三重舊宅兼畫室遭火災，燒燬不少重要文件、照片，部份作品也遭波及 3 月，在哥雅畫廊與洪瑞麟等舉辦「第五屆紀元美展」

1977

3 月，在台北市省立博物館與洪瑞麟等合辦「第六屆紀元美展」

1978

三重舊宅翻新工程竣工，遷入新居 4 月，在台北市太極藝廊與洪瑞麟等合辦「第七屆紀元美展」

1979

10 月，任「第卅四屆全省美展」油畫部評審委員

1980

王偉光、林長雄定期前往請教繪畫問題（至 1984 年），開始進行談畫錄音

1981

7 月，因胃腺癌住院開刀

1982

8 月，赴日看畫，接觸關東地區的老畫家

1984

9 月，因胰臟癌住院 12 月 3 日，遺下未完成畫作，離開人間，享年七十四歲

1985

10 月，台北市立美術館舉行「台灣早期畫家—陳德旺紀念展」

Timeless Elegance In Praise of Love

Chen Te-Wang

Chen Te-Wang 1910~1984

1910

Born on Dihua Street at the beginning of September

1918

Attended Taiping Elementary School. Loved to paint since childhood. All his

1938

Exhibits Anping Landscape, Assignment, Attempt, Painter, Rural Scenery, and Still Life at the first MOUVE Touring Exhibition.

paintings at school would later be shipped to Japan for exhibitions there 1924

Admitted to Taipei First Middle School (now known as Kian Kok Middle School)

1939

1926

1940

Returns to Taiwan in November

suggestion of his uncle, Chen began making plans to study painting at Tokyo Admitted to Dadaocheng Institute of Western Painting, founded by Kinichiro

1941

With the outbreak of the Second World War, Japan and Anglo-American forces

Ishikawa, with the referral of reporters from Taiwan Daily Newspaper. Became

were pitted against each other. The MOUVE society stopped using Western text

classmates with Hong Rui-lin and Chang Wan-chuan

and changed its name to Taiwanese-style Art Association

1928

Went to study abroad in Japan and arrived in Tokyo in December

The first Taiwanese-style Art Association Exhibition reveals Tamsui Scenery,

1930

Visited the academic dean of Imperial School of Fine Arts (now known as

Portrait of the Night, Taichun Scenery, Park Scenery, and Boat in March

Musashino University), however, chose not to attend the school in the end.

Became accountant for The Red Cross Hospital to avoid the military draft. Did not

Independent Art Association held a lecture on Fauvist style at Asahi Shumbun

have to join the military as a soldier with this proof of military service Scenes in Southland is selected for 4th Taiwan Government Fine Art Exhibition

newspaper society. Became determined not to attend a fine arts school, and just wanted to wander freely throughout various major private painting schools.

1945

Temporarily stopped painting due to the passing of several family members

1931

Studied painting at Hongo Painting Institute and Kawabata Art Academy

1951

Rejoined Tai-yang Art Association along with Chang Wan-Chuan and Hong Rui-Lin

1932

Studied painting at Research Institute for Two Disciplines

1933

Studied painting with Yasui Sotaro and Seifu Tsuda at Tsuda private painting school

1935

Women in a Supine Position awarded the Asahi Prize

and Industry

Still Life on a Table is selected for first Tai-yang Art Exhibition. Becomes member

Exhibits Twilight and Spring at the fifteenth Tai-yang Art Exhibition in May

of the Tai-yang Art Association with referral 1936

1937

Organized MOUVE Three Person Exhibition By the Water is selected for third Taiwan Government Fine Art Exhibition.

Visited Beijing Art College where most foreign teachers had already left. At the

1927

The second MOUVE Touring Exhibition. Scenes from a Racecourse is selected for second Taiwan Government Fine Art Exhibition

and learned art under Toho Shiozuki Went to Tianjing and studied at Common Culture Academy for more than a semester

Leaves Tai-yang Art Association along with Rui-lin Hong

Displayed the five works of his Scenery series at the fourteenth Tai-yang Art Exhibition 1952

1953

Serves as art instructor for the night division of Kai-nan High School of Commerce

Exhibits Scenery a ,Scenery b, Scenery c, Portrait at sixteenth Tai-yang Art

Attends the private painting school of Yoshimura Yoshimatsu with the referral of Li

Exhibition in May

Mei-shu and Lee Shih-chiao

Serves as part-time art instructor for the evening division at Taipei Private Yanping

Green is selected for the tenth Taiwan Fine Arts Exhibition

High School.

New Green, his eleventh work, participates in the third Tai-yang Art Exhibition

1954

Marries Ms. Lin Yu-hsia and settles in Sanchong City.

Forms Western Painting Group (MOUVE Artists Society) with Hong Rui-Lin and

Exhibits Scenery, Self-portrait at the seventeenth Tai-yang Art Exhibition in July.

others in September

Forms Era Art Association with Hong Rui-Lin, Chang Wan-Chuan, Jin Run-Zuo,

Curriculum Vitae

and Chang Yi-Shiung. Exhibits Scenery a, Scenery b, and Character at the first Era

1975

1955

Exhibits Flower, Character a, Character b, Scenery, Still Life at second Era Art

1977

Museum in Taipei

Exhibits Works a-h during Era Art Southern Tour Exhibition in July. 1978

Gallery in April

Receives the first Chairmanâ&#x20AC;&#x2122;s award for Western painting at the fourth Taiwan 1979 1980

Exhibits Character, By the Sea, Fruit, Scenery, Tamsui River, Ai River, On the Table

1981

Hospitalized for surgery due to gastric adenocarcinoma in July

at third Era Art Exhibition in November

1982

Goes to Japan to view paintings and talk with old painters in the Kanto region in August

Selected for outstanding works in Western painting division at fifth Taiwan

1984

Hospitalized due to pancreatic cancer in September Left behind unfinished paintings and passed away at an age of 74 on December 3

Provincial Employees and Teachers Art Exhibition. Employed by Tatung High School in August 1970

Wei Wei-Guang and Lin Chang-Hsiung make regular visits to ask about painting (until 1984). Begins to record their discussions about painting

Taiwan Provincial Cultural Association.

1956

Serves as judge for oil painting division at the thirty-fourth Taiwan Provincial Fine Arts Exhibition

Serves as member of fine arts team for Taiwan Provincial Cultural Association and member of Chinese Artists Association. Invited to work as sketching mentor for

Moves into house at Sanchong after reconstruction is completed Co-organizes the seventh Era Art Exhibition with Hong Rui-Lin at Taipei Tai-chi

Leaves Tai-yang Art Association again.

Provincial Employees and Teachers Art Exhibition.

Co-organizes the fifth Era Art Exhibition with Hong Rui-Lin at Gaya Gallery in March Co-organizes the sixth Era Art Exhibition with Hong Rui-Lin at Taiwan Provincial

Exhibition in March.

Exhibits Still Life, Scenery at the eighteenth Tai-yang Art Exhibition in August.

Old house and studio in Sanchong burns down in fire, burning a number of important documents, photos, and works

Art Exhibition.

Serves as judge for Western painting division at the second Taipei Fine Arts Exhibition

1985

Taipei Fine Arts Museum organizes 'Chen Te-Wang, a Memorial Exhibition' in October

Invited to participate in National Art Exhibition without the need for review by a judge 1971

Serves as judge for Western painting division at the third Taipei Fine Arts Exhibition

1972

Serves as judge for Western painting division at the fourth Taipei Fine Arts Exhibition Invited to participate in the Hundred Artists Western Painting Exhibition

1973

Co-founded Western Painting Appreciation Club along with Chang Wan-Chuan, Hong Rui-Lin, and Liao Te-Cheng, and exhibited a total of six works, including Portrait, Scenery, and Still Life Retires from Tatung High School in August Closed himself off from social interaction to paint and immerse himself in his studies

1974

Co-organizes the fourth Era Art Exhibition with Hong Rui-Lin at Gaya Gallery in September

Timeless Elegance In Praise of Love

陳德旺 Chen Te-Wang

裸女 Nude 油彩、畫布 Oil on canvas 8P

陳德旺曾經這麼寫過：「……開始暗暗的，單色調表現做的不錯。然而亮

work became stiff and isolated. Therefore, he had to start all over again with

亮的，用鮮豔顏色的（即明度高的）做不好，做出來的看起來有點討厭」。

single hue, using simple colors to explore the close relationship among colors

這位色彩畫家想以高明度、純色彩來表現，畫成之後再三檢討，發現色彩

and how they react with the space. The shapes and the colors in this painting

相互之間階調無法連貫，生硬而孤立，只好回過頭來，再從色調繪畫入手，

are dealt with in a pure and simple way. The elegant gray, yellow and green

以簡單顏色推求色彩相互間的緊密關聯與空間價值。此畫形、色單純化處

perfectly represent the delicate transformation between the obscure and the

理，高雅的灰黃綠色系，適切地表現出明暗階調的細密變化，空間緊密異

brightness. The space is particularly rigidly organized. If one gazes at the

常，長時間瀏覽，也覺眼睛舒適，內心平順。

painting for a long time, one's eyes will feel comfortable and one's heart will feel peaceful.

三角構圖的人體，將背部、頸肩部削平，與背景形成長方形構圖，加強人體穩定性。長袍延綿成山嶺狀，背景中間偏左一道亮筆，似晨曦自山頭乍

The human body is composed in a triangle shape. The back, the neck, and

現微光，雖屬室內畫，而空間遼闊，意境深幽，相當感人。

the shoulder are flattened, constructing a rectangle with the background. The physical stability is thus achieved.

Chen Te-Wang has once written: “… It begins with the obscure / the use of

single hue is not bad, and it is quite bright / it's not good to use bright colors

The robe is extended like mountains. There is a bright stroke in the center-

(with high brightness) / I don't like it.” The painters wanted to express with

left part of the background as if it is the twilight from the mountain top.

pure colors with high brightness. However, after the painting was finished,

Although it is an indoor painting, it still represents the vastness of the space

he realized that these different hues could not match each other and the final

with emotions implicitly expressed.

Timeless Elegance In Praise of Love

關

於

洪瑞麟

1912 年生於台北大稻埕，由於父親對傳統文人畫的素養，自小便對繪畫發生了興趣， 1929 年進入台灣

美術研究所習畫， 1930 年啟程赴日， 1931 年進入日本帝國美術學校（今武藏野美術大學），並於 1936 年畢業。畢業後曾創作大幅作品「山形市場」，取材自日本東北的村落，已展現與眾不同的視野，拋開洋畫的人像創作習慣，把眼光放在庶民及勞動人群。

1938 年 7 月回到台灣，並到倪蔣懷經營的瑞芳煤礦工作，與畫友成立「 MOUVE 美術集團」，自此開

始以礦工作為創作題材，建立出與眾不同的繪畫風格。洪瑞麟的礦工畫，常以簡練、流暢又粗獷的筆觸來勾畫線條，因而礦坑內獨特的情景、礦工們一張張飽經風霜的臉孔、黝黑緊繃的肌肉，就在畫家的彩筆下鮮活起來。由於他的畫中會自然散發出一股強烈的情感，往往不自覺就打動了每一位觀賞者，洪瑞麟的作品深深充滿了這種悲天憫人的情懷。

洪瑞麟 Hong Rui-Lin

1912~1996

洪瑞麟除了礦工之外，也曾將原住民，裸女與風景等題材加入作品之中。對於洪瑞麟而言，繪畫是個人情感的宣洩，也是藝術家對生命最真誠的表白，因此洪瑞麟的礦工系列所探觸的不是它者，而是並存於心靈探求和身驅勞動兩者之間最深沉的人性，這就是洪瑞麟藝術生命的源頭和最珍貴的寶藏。 1972 年自礦場退休後，移民美國，勤於到世界各地旅遊寫生，留下許多風景創作。1996 年於洛杉磯因

心臟病去世。

About

Hong Rui-Lin was born in 1912, Dadaocheng, Taipei, Taiwan. Due to his father’s interests in arts and humanities, he also became interested in arts since early childhood. He entered Taiwan Institute of Fine Arts and then went to Japan for further learning. Hong went to Japan in 1930s, the same era with Chen Te-Wang and Chang Wan-Chuan, but he was the only one who entered the Imperial Fine Arts School. In 1936, he graduated from Imperial Fine Arts School. His first artwork after graduation depicted a rural village in Japan; this subject matter held a unique perspective in the artwork at that period of time. He chose to highlight on the civilians and the mine laborers.

In 1938, he found a job working for the Jui-Fang Coal Mining Company to make a living. The mining industry became a key inspiration for Hong, who was thus able to build his own distinctive style and became known as the Miner Painter. In his sketchbooks, he caught the beauty of working body. He drew what he had seen in reality. His works connected to people’s hearts and often stirred up emotions.

Besides painting the miners, Hong also included subjects such as aborigines and nudes into his works. To the artist himself, drawing was the way to express one’s feelings in a most sincere way. In 1972 after Hong’s retirement, he immigrated to the States and started to travel around the world and sketched on whatever he had seen, leaving a portfolio of landscapes and scenery paintings under his hands. In 1996 he passed away in Los Angeles.

Timeless Elegance In Praise of Love

年

表

洪瑞麟 1912~1996

1912

5 月 7 日，出生於台北市大稻埕

1917

父親以墨梅及書法聞名，因侍墨而對繪畫發生了興趣

1920

就讀於稻江義塾；因老師吳清海贈送的日本美術雜誌，開始臨摹西歐名畫

1926

進入私立成淵中學夜間部就讀

1952

再度加入台陽美協，於「第十五屆台陽展」展出礦工作品

1927

進入「台灣繪畫研究所」習畫，師從石川欽一郎，開使石膏像素描、水彩

1953

參加「第十六屆台陽展」

寫生等訓練

1954

再度退出台陽美協。與陳德旺等人共組「紀元美術展」

《靜物》獲台灣水彩畫會展出

1955

3 月，「第二回紀元美術展」於台北中山堂

9 月，由陳植棋帶領赴日，在本鄉繪畫研究所、川端畫學校習畫。

1957

應「全國美展」邀請展出《靜物》及《礦工圖》等作品

1930

《微光》入選第四屆台展

1964

應李梅樹之邀，受聘為國立藝專（國立台灣藝術專科學校）兼任教授，於

1931

4 月，考入東京帝國美術學校（今武藏野美術大學）西畫本科

1929

《靜物》入選第一屆日本東光會展 1932

12 月，與礦長之女彭金花結婚 1942

彩畫、水墨畫，較少油畫創作

西畫科擔任素描課程 1966

九一八事變後，父親經援中止，至高砂寮打工賺取生活費

擔任大專美術系入學考試術科閱卷委員；與李梅樹、施翠峰等赴日本考察美術教育

《靜物》入選「第十屆春陽會展」

1968

水彩畫作《坑內工作》參加「第一屆大專教授美展」

1934

加入東京「前衛美術家俱樂部」

1971

水彩畫作《池畔春秋》參加「第六屆全國美展」

1935

加入「日本新興美術家同盟」

1972

自煤礦礦場退休

《蟬聲》入選第九屆台展

1974

1 月，「洪瑞麟素描展」

1936

1937 1938

3 月，自日本帝國美術學校畢業，參加東京神田「帝美三十六年展」

9 月，於哥雅畫廊與陳德旺等人合辦「第四屆紀元展」

10 月，返台；在台北教育會館舉辦第一次個展

1975

3 月，於哥雅畫廊與陳德旺等人合辦「第五屆紀元展」

與張萬傳、陳德旺加入「台陽美協」，並參加第三屆台陽展，以《慈幃》

1977

3 月，與陳德旺等人於省立博物館合辦「第六屆紀元展」

獲第十屆台展《台日賞》

5 月，前往美國洛杉磯、紐約旅遊寫生，探望子女

4 月，《二人》入選日本「第十五回春陽會」

8 月，因妻生病，返台求醫

9 月，與陳德旺等人共組「MOUVE 洋畫集團」

當選中華民國油畫學會理事、第八屆全國美展評審委員、第三十二屆全省

3 月，舉辦「MOUVE 第一屆聯展」 4 月，《東北人》入選日本「第十六回春陽會」

美展評審委員 1978

7 月，返回台灣退出台陽美協 1939

2 月，妻歿 4 月，與陳德旺等人於太極畫廊合辦「第七屆紀元展」

9 月，至瑞芳煤礦工作，開始以礦工為創作對象

由於戰爭時期日本的「繪具材料統制法」，1940-1950 年間多鉛筆、淡

任第三十三屆全省美展評審 1979

任北區大專學生美展評審

4 月，《坑夫》、《炭車押》入選日本「第十七回春陽會」；《坑內工作》

7 月，於台北春之藝廊展出第二次個展「三十五年礦工造形展」；雄獅圖

參加台展，並入選第二屆府展

書公司出版《地底的光—洪瑞麟礦工速寫集》

Curriculum Vitae

1980

赴美定居，往返洛杉磯、台北、紐約之間 5 月，為永安煤礦災變，以 25 幅礦工速寫於台北阿波羅畫廊舉行「五一勞動節，救援永安礦坑災變」義賣展

1987

洪瑞麟藝術工作室成立，由妻舅彭光照、彭春夫負責 10 月，台北市立美術館與時報週刊合辦「洪瑞麟藝術世界展」

1988

2 月，與廖德政等人合辦「第八屆紀元展」 6 月，「洪瑞麟水彩畫展」於阿波羅畫廊 11 月，由蔣勳策劃，於嘉義新港文教基金會舉辦「洪瑞麟礦工作品展」，並出版《礦工作品選集》 12 月，「洪瑞麟油畫展」於台中現代畫廊

1989

3 月，「洪瑞麟礦工畫展」於台北金橋書局

1990

2 月，聯展於台北市立美術館「台灣早期西洋美術回顧展 1895~1945」 5 月，《礦工群像》聯展於省立美術館「台灣美術三百年」 6 月，「洪瑞麟回顧展」於台北永漢藝術中心 10 月，與廖德政等人於普及畫廊合辦「第九屆紀元展」

1992

3 月，於誠品畫廊舉行「紀元畫會創始會員紀念展」；於印象畫廊舉行「第十屆紀元美展」

1994

8 月，參加「畫廊博覽會」 10 月，「洪瑞麟回顧展」於李石樵美術館

1996

12 月 3 日，因心肌梗塞去世於美國加州

1997

國立歷史博物館展出「原鄉譜曲—洪瑞麟逝世周年紀念展」

Timeless Elegance In Praise of Love

Hong Rui-Lin

Hong Rui-Lin 1912~1996

1912

Born in Dadaocheng, Taipei, on May 7th

1917

Father was known for his calligraphy and ink paintings of plum blossoms. This led

1920

Wang and others 1938

Hong to have an interest in ink painting

April - Northeastern entered the 16th Shunyo-kai Exhibition

Began study at Inaekeio Public School. Began practicing painting by mimicking

July - Returned to Taiwan

Western paintings featured in a Japanese art publication given to him by his teacher,

September - Worked at a coal mine in Rueifang, and made coal mineworkers the

Mr. Qing-Hai Wu

primary subject of his art

1926

Entered Cheng Yuan High School’s evening school

1927

Entered the Taiwan Institute of Painting to study painting under Ishikawa Kinichiro.

1929

Practiced plaster modeling and watercolor painting

Mining entered the Taiwan Exhibition and Second Fine Arts Exhibition of the

Still Life was featured at an exhibition of Taiwan Watercolor Society

Government-general of Taiwan

Withdrew from the Tai Yang Arts Association 1939

Group and Kawabataga School

April - Miner and Coal Cart entered the Seventeenth Shunyo-kai Exhibition

December - Married the chief miner’s daughter, Ho Kin-Ka

September - Went to Japan with Chen Jr-Chi. Practiced painting at Kawabata Art 1942

Due to the Regulation on Painting Materials passed by the colonial government

1930

Glimmer entered the Fourth Taiwan Exhibition

during wartime, works between 1940 and 1950 mostly consisted of pencil,

1931

April - Admitted to Tokyo Imperial Fine Arts School (now Musashino Art

watercolor, and ink paintings, instead of oil works

University), where he studied Western painting

1952

1932

Rejoined the Tai Yang Arts Association and exhibited the artworks on mining at the Fifteenth Tai Yang Exhibition

Still Life entered the First Toko Exhibition After the 918 Incident, financial support from Hong’s father ended, and Hong had

1953

Participated in the Sixteenth Tai Yang Exhibition

to make a living by working at the Takasago dormitory

1954

Withdrew from the Tai Yang Arts Association for the second time. Together with Chen Te-Wang, formed the MOUVE Association

Still Life entered the Tenth Exhibition of Shunyo Art Association 1934

Joined the Progressive Artist Club, Tokyo

1955

March - Second MOUVE Association Exhibition was held in Taipei Zhongshan Hall

1935

Joined the Japanese New Art Alliance

1957

Still Life and Mining were works featured at the National Art Exhibition of the Republic of China

Cicadas entered the Ninth Taiwan Exhibition 1936

March - Graduated from the Imperial Fine Arts School, and participated in the 1936

1964

October - Returned to Taiwan; Held first solo exhibition at Taipei Education Public Hall

1966

Served on the admission committee for the fine art department; Together with Lee Mei-Shu and Shi Cui-Feng surveyed the Japanese art education environment

Joined Tai-Yan Fine Art Association and 3rd Tai-Yan Art Exhibition; Loving Mother

1937

Recommenced by Lee Mei-Shu to serve as part-time professor at the National Taiwan University of Arts, where he taught sketching at the Western painting department

Imperial Exhibition, Kanda, Tokyo

won 10th Taiwan-Japan Fine Arts Award at Taiwan Fine Art Exhibition

1968

Watercolor work, Mine Work entered the First Professor Exhibition

April - Two People entered the 15th Shunyo-kai Exhibiton

1971

Watercolor work, Pond in Spring and Autumn entered the Sixth National Art

September - Formed the Mouve Western Painting Group together with Chen Te-

March - Hosted the First Mouve Western Painting Group Exhibition

Exhibition of the Republic of China

Curriculum Vitae

1972

Retried from mine work

1974

January - 'Rui-Lin Hong Sketch Exhibition'

Exhibition at Gaya Gallery

September - Together with Chen Te-Wang, held Forth MOUVE Association

June - Exhibition Hong Rui-Linâ&#x20AC;&#x2122;s Watercolors at Apollo Art Gallery in Taipei

Exhibition at Gaya Gallery

November - Exhibition The works of the miners by Hong Rui-Lin at Hsin Kang

March - Together with Chen Te-Wang, held Fifth MOUVE Association Exhibition

Foundation & Culture & Education, Chiayi

at Gaya Gallery

December - Hong Rui-Lin Oil Painting Exhibition at Modern Art Gallery, Taichung

1975 1977

March - Together with Chen Te-Wang, held Sixth MOUVE Association Exhibition

1988

1989

1978

1990

1985~1945', Taipei Fine Art Museum

August - Returned to Taiwan due to his wifeâ&#x20AC;&#x2122;s illness

May - Paintings of the Miners shown at the exhibition '300 Years of Fine Art in

Appointed director of The Oil Art Society of the R.O.C., judging committee

Taiwan', National Taiwan Fine Art Museum

member of the 8th National Art Exhibition of the Republic of China, and review

June - 'The Retrospective Exhibition of Hong Rui-Lin', Yung Han Gallery

committee member of the 32th Taiwan Provincial Fine Arts Exhibition

October - Together with Wang-Te Chen, held Ninth MOUVE Exhibition at Pu Ji Gallery

Feburary - Wife passed away 1992

Served on the review committee of the Taiwan Province Art Exhibition

March - MOUVE Founding Member Exhibition held at Eslite Gallery; 'Tenth MOUVE Exhibition' held at INSIAN GALLERY

Arts Exhibition 1994

August - Participated in Gallery Expo October - 'Hong Rui-Lin Retrospective Exhibition', Lee Shih-Chiao Museum of Art

Served on the review committee of the college student exhibition

1980

February - Works featured at 'The Retrospective of the Early Western Art in Taiwan

visit his children

April - Served as review committee member of the 33th Taiwan Provincial Fine

1979

March - Exhibition, The Paintings of the Miners by Hong Rui-Lin, at Jin-Chiao Bookstore in Taipei

at Gaya Gallery May - Travelled to Los Angles and New York to sketch those cities scenery and to

February - Together with Chen Te-Wang, held Eighth MOUVE Association

July - Second solo exhibition, 35th Miner Figure Exhibition, at Spring Gallery;

1996

Passed away on December 3th, following a heart attack in California, USA

Publish the Light Underground - Hong Rui-Lin Mine Sketches, Lion Art Publishing

1997

'The Tone of His Homeland - Commemoration Exhibition of Hong Rui-Lin's Art',

Moved to the United States, and traveled between Los Angeles, Taipei, and New York

National Museum of History

May - In response to the Yong An coal mine accident, conducted charity auction, 51 Labor Day, Help Victims of the Yong An Coal Mine Incident, of his works at Apollo Gallery 1987

Founded Hong Rui-Lin Studio. Lighting was provided by uncle-in-law, while the gallery managed by Peng Chun-Fu December - The Art World of Hong Rui-Lin hosted by Taipei Fine Arts Museum and China Times

Timeless Elegance In Praise of Love

洪瑞麟 Hong Rui-Lin

朝妝 Morning Toilette 1934 油彩、畫布 Oil on canvas 30F

洪瑞麟一九三四年的作品《朝妝》，是台灣女性早起梳妝的鏡頭。陳設的是台灣式傢俱和地板，布簾是為了畫面效果，表現的是野獸派手法。這幅畫曾經被選為一九九二年東京庭園美術館「一九三〇年代洋畫之動亂」展的台灣代表作之一。因為這是一九三四年的作品，當時洪瑞麟在日本，他以台灣尋常人家的女性生活做為題材，可是洪瑞麟處理人像一開始就鎖定平凡人角色，此一理念猶關他終生選取礦工題材的動機。

Hung Rui-Lin’s Morning Toilette in 1934 depicts the Taiwanese women who got up early to put on make-up. The Taiwanese-style of floor and furniture are expressed with Fauvist touch while the fabric screen is included for the visual effect. The work was chosen as one of paintings to represent art in Taiwan in the exhibition “The Trend of Western Paintings in the 1930s” by Tokyo Metropolitan Teien Art Museum in 1992. The work, with the daily life of ordinary women in Taiwan as its main subject, was painted in 1934 when Hung Rui-Lin was still in Japan. Ordinary people have always been the themes of Hung Rui-Lin’s portrait painting, just like how subjects about “mineworkers” have become his lifetime artistic exploration.

Timeless Elegance In Praise of Love

關

於

蒲添生

1912 年，蒲添生出生於嘉義的藝術世家，並受到小學導師陳澄波的教導，耳濡目染啟發藝術天分。 1931 年，蒲添生赴日就讀東京川端畫學校，專攻素描。翌年進入日本帝國美術學校（今武藏野大學）

膠彩畫科，後轉雕塑科，並於 1934 年進入日本雕塑大師朝倉文夫的私塾學習。1940 年以雕塑作品《海民》入選聖德太子奉讚展。繼因戰亂決定返台，和畫家楊三郎等人籌組台陽美術協會，並首創雕塑部。自首屆台灣省展起，擔任評審數十年， 1949 年起於省教育廳的雕塑講習會任教達十三年，對於台灣雕塑藝術的發展，影響重大。蒲添生一向以人體素材為出發點，追求人體與生命之美的詮釋與表現。 1958 年，他一生中最重要的女體雕塑作品《春之光》入選日本美術展覽會。1983 年，分別以《詩人》、

《亭亭玉立》、《懷念》等作品入選法國沙龍展。1994 年，蒲添生僅管身體不適，仍�心投入製作林靖娟老師紀念雕像，終至病重，於 1996 年作品完成後即去世。

蒲添生 Paul Tien-Shen

1912~1996

蒲添生是台灣歷史上第一位最具專業能力、也是作品最多的人像雕塑家，他所創作的人物雕像，忠實而又藝術性地呈現了台灣近代社會的歷史人物縮影。蒲添生以其創作見證了台灣政治與雕塑的時代變遷，同時他也致力於推廣台灣的雕塑教育。從其流傳下來的作品以及無數的手稿，展現他在八十五年的歲月裡對生命藝術的追求與執著。

About

Paul Tien-Shen was born in 1912 in Chiayi City, Taiwan. In 1919, he entered the local Chung-Wen Primary School. His head teacher at the time was the well-known artist Mr. Chen Cheng-Po, who many years later became Paul's father-in-law. Paul's outstanding artistic latent was recognized rather early, as he won the top prize at the Hsinchu Art Exhibition at the age of only 14 with his Easterngouache painting Fighting Cocks. In 1931, he travelled to Japan to study at the prestigious Kawabata Art School of Tokyo for two years before he was admitted to Teikoku Art School (now Musashino Art University). Later, Paul Tien-Shen studied sculpture in the studio of the great Japanese sculptor Asakura Fumio. Paul Tien-Shen remained passionate about sculpture throughout his artistic career, and placed major emphasis on how figurative sculptures should capture the moment of the everchanging movement of the subject. Throughout his long and distinguished artistic career, Master Paul Tien-Shen created a great number of sculptural masterpieces and left us with a huge legacy of art.

Timeless Elegance In Praise of Love

年

蒲添生 1912~1996

1912

出生於嘉義美街

1919

進入玉川公學校就讀；陳澄波曾任其導師

1925

《鬥雞》獲新竹美展首獎

1928

與林玉山等多位畫家合組「春萌畫院」

任「台北市立美術館」雕塑類審議委員

1931

赴日留學；於東京川端畫學校習畫

任「台南縣南瀛美展」評審委員

1932

進入日本帝國美術學校膠彩畫科；後轉入雕塑科

1989

任「國家文藝基金會」美術類評審委員

1934

師從於日本雕塑大師朝倉文夫，於其雕塑私塾學習八年

1990

任「台灣全省美術展覽會」評議委員

1937

於第十一回朝倉塾雕塑展覽會展出《裸婦習作》

1938

奉父命返台為嘉義木材商蘇友讓製作胸像，作品深受陳澄波賞識

1991

於台灣省立美術館舉辦「蒲添生雕塑八十回顧展」

1939

迎娶陳澄波長女陳紫薇

1992

任「全國美術展覽會」評議委員

於第十三回朝倉塾雕塑展覽會展出《文學魯迅》

1993

於國立歷史博物館舉辦「蒲添生雕塑展」

1940

《海民》入選日本紀元二千六百年奉祝美術展覽會

1995

於嘉義市立文化中心舉辦「蒲添生．蒲浩明—父子雕塑聯展」

1941

與楊三郎等人籌組「台陽美術協會」，並成立「雕塑部」

1996

5 月中完成《林靖娟老師紀念銅像》

1945

舉家遷離嘉義，定居於台北成立工作室與台灣光復後第一家鑄銅工廠，引入日本翻銅技術

1946

任「第一屆台灣省全省美術展覽會」評議委員

1949

主辦暑期雕塑講習會（長達 13 年）

1953

於菲律賓主辦的第一屆亞運藝術展覽會展出《男性胴體》、《健與力》

1957

任「教育部美育委員會」委員

1958

赴日再度師從於朝倉文夫《春之光》入選第一屆日本美術展覽會

1965

任「全國美術展覽會」評審委員

1980

參加第二屆朝象會雕刻展開始啟用模特兒，進行抒情人體雕塑創作

1982

原擬於全國美術展覽會在國父紀念館展出《陽光》，因該館拒絕展出裸體作品，與該展其他裸體作品移至春之藝廊聯展，引發藝術與色情之爭任「台北市美術展覽會」評審委員

1983

於台北省立博物館舉行「蒲添生雕塑五十年第一屆紀念個展」《詩人》入選法國藝術沙龍；《亭亭玉立》入選巴黎冬季沙龍

100

1984

《懷念》入選法國獨立沙龍百週年展

1985

任「中國美術協會」榮譽理事

1986

任「國立歷史博物館」美術審議委員

1987

任「台北市立美術館雕塑類美術品審議小組」委員任「台灣省立美術開館展覽會」評審委員

1988

任「台灣省立美術館展品審查委員會」委員

任「台北縣美術展覽會」雕塑部評審委員

5 月底因胃癌病逝於台大醫院

表

Curriculum Vitae

Paul Tien-Shen 1912~1996

1912

Born in Mei Street, Chiayi

Hall due to nudity. This work was later featured in a group exhibition at Spring

1919

Entered the local Yu-Chuan Primary School; Was once the student of Chen Cheng-Po

Gallery, Taipei. This work spark a debate over the distinction between art and

1925

Cock Fight won first place in the Hsinchu Art Exhibition

pornographic material

1928

Formed the Chun Meng Painting Studio together with other paintings, including Lin Yu-Shan

Served as a review committee member of the Taipei City Art Exhibition

1983

'Paul Tien-Shen Sculpture Fifty Year Memorial Solo Exhibition', Taiwan Provincial

1931

Moved to Japan and practiced painting at the Kawabata Art School, Tokyo

Museum

1932

Entered the gouache painting department of Japan Imperial Art School; later

Poet entered the Le Salon d'Automne, France; Straight Posture entered the Winter Salon of Paris

switched to the sculpture department

1934

Studied under renowned Japanese sculptor, Asakura Fumio, for over eight yeats

1984

Nostalgia entered the Salon des artistes indépendants 100th anniversary exhibition.

1937

Nude Woman Exercising was shown at the Eleventh Asakura Sculpture Exhibition

1985

Served as honorary director of the Chinese Art Association

1938

Obeyed father’s request to create a portrait sculpture of a Su You-Rang, a Chiayi

1986

Served as art review committee member at the National Museum of History

based wood merchant. This work gained the accolade of Chen Cheng-Po

1987

Served as member of the Sculpture Artwork Review Committee Team of the Taipei

1939

Married the eldest daughter of Chen Cheng-Po

Fine Arts Museum

Xun Lu’s Literature was shown at the Thirteenth Asakura Sculpture Exhibition.

Served as review committee member for the Opening Exhibition of the National

1940

Fisherman entered the Japan Commemorative Exhibition

1941

Form the Tai Yang Arts Association together with Yang San-Lang, and founded the

1945

Taiwan Museum of Fine Arts

1988

Served as committee member of the National Taiwan Museum of Fine Arts

association’s sculpture division

Artwork Review Committee

Family moved from Chiayi to Taipei

Served as member of the sculpture review committee at the Taipei Fine Arts Museum Served as review committee member at the Tainan County Nanying Art Exhibition

Established his studio and founded the first bronze factory in Taiwan since the island’s liberation. Introduced bronze casting techniques from Japan

1989

Served as art review committee member, National Culture and Arts Foundation

1946

Served as a review committee member for the First Taiwan Provincial Fine Art Exhibition

1990

Served as review committee member, Taiwan Provincial Fine Arts Exhibition

1949

Hosted summer sculpture seminars for 13 years

1953

Bronze Male Figure and Health and Strength were featured at the First Asian

1957

Games Exhibition, hosted in the Philipines

1958 1965

1991

Held 'Eighty Year Retrospective Exhibition of Sculpture by Pual Tien-Shen' at the National Taiwan Museum of Fine Arts

Served as member of the Ministry of Education Art Education Committee

1992

Served on the review committee of the National Arts Exhibition of the Republic of China.

Travelled to Japan to once again study under Asakura Fumio

1993

'Paul Tien-Shen Seculpture Exhibition' held at National Museum of History

Spring Light entered the First Japan Modem Art Exhibition

1995

'Paul Tien-Shen and Paul Hao-Ming - Father and Son Sculture Exhibition', Chiayi Cultural Center

Served as review committee member of the National Arts Exhibition of the Republic of China

1980

Served as sculpture review committee member, Taipei County Art Exhibition

Participated in the Second Chao Xiang Association Sculpture Exhibition

1996

Completed memorial statue of Lin Jingjuan in mid May Passed away due to stomach cancer in end of May

Began using models when creating sculptures of nude figures

1982

The work, Sunlight, which was banned from being shown at the the National Arts Exhibition of the Republic of China hosted at the Sun Yat-sen Memorial

101

Timeless Elegance In Praise of Love

蒲添生 Paul Tien-Shen

The shape of Light of Spring was Teacher Asakura’s suggestion to Paul Tien-Shen. The sculptural work is like a process to pass down the artistic

春之光

skill. The whole work demonstrates Asian’s women’s unique confidence,

Light of Spring

determination, and gentleness. The full body catches an erotic glimpse 1958

which is filled with life vitality. The crossed legs and the eyes looking up

銅 Copper

also remind us of Huang Tu-Shui’s Dew Water – though Dew Water has a still

51×48×175cm

atmosphere while Light of Spring is painted with rotating movement.

《春之光》的造型，是朝倉老師為蒲添生構想提供，這次的塑造，帶著強

The model of Light of Spring is a Japanese girl who has a full figure. The

烈授藝的性質；整件作品呈現一種東方女性特別的自信、堅決與柔美。軀

center of her body weight is put between her legs, but her left leg is slightly

體的飽滿，一如春光的乍現，充滿生命的活力。這件作品交叉的雙腿，上

in front of the right and turned toward the left. Her one hand is put on top

仰的視角，也讓人容易聯想起黃土水的《甘露水》。不過《甘露水》是靜

of the other. Her right hand falls to her right thigh, and her left hand lifts up

止的，《春之光》則帶著旋轉的動態。

to touch her hair. She faces somewhere faraway, and her body poses like a natural turn, from her head to her breast, from her breast to her waist, from

《春之光》以日本女孩為模特兒，身材圓潤豐滿，身體重心放置在兩腳之

her waist to her hip, and from her hip to her feet, creating an implicit sense of

間，但左腳稍稍向前並左轉；雙手一上一下，右手下垂輕撫右腳大腿，左

beauty which embraces the still and the moving. Since it fully expresses the

手上舉，撫摸髮際，臉望向遠方，身軀形成一種自然的旋轉，由頭轉胸、

vitality of a young woman, the painting is thus given the title Light of Spring.

由胸轉腰、由腰轉臀、由臀轉足，形成一種靜中有動、動中有靜的含蓄美感，充分傳達出少女的青春活力，因此取名為《春之光》。

Paul Tien-Shen has once memorized that Asakura’s private school used to locate in a garden around Uenoyanaka and it was famous for its spring cherry

102

蒲添生曾回憶說：朝倉塾所在的谷中靈園，位於上野谷中一帶，以每年春

blossoms. When Paul was in his mid-life, he came back to this place where

天的櫻花盛開知名。中年以後的蒲添生，回到這學藝的地方，面對櫻花的

he used to study art with his teacher. The cherry blossom and withering

盛開與凋落，充滿了無限的感觸。當他雕塑少女豐美的胴體時，也不禁想

indeed stirred the emotions of the artist, reminding us the beautiful youth and

起青春的綻放與死亡的陰影。因此，這件作品取名《春之光》，就暗含著

the shadow of death. Therefore, the title of the painting Light of Spring also

對青春的歌頌與珍惜。

suggests the celebration of the precious youth.

Timeless Elegance In Praise of Love

蒲添生 Paul Tien-Shen

陽光 Sunshine 1981 銅 Copper 30×28×81cm

《陽光》是這十年間當中相當具有代表性的一件創作。這件作品仍是以女

Sunshine is one of the most representative works in these ten years. The

性裸體（法國模特兒）為題材，表現一位高舉雙手展身而立的美女性。女

theme of the painting is still the female nude (the French model). In the

子雙手，一手撫頭，一手握拳高舉，雙腳挺直，一腳腳面確實著地，一腳

painting, a beautiful woman stretches her body with her both hands raised

則腳跟稍稍提起。整件作品有一種向上伸揚的氣勢，取名《陽光》，象徵

– her one hand is caressing her head while the other is making a fist. Her

一種無邪、健美、開放、自由的感受。這件作品也令人聯想到羅丹（ Auguste

both legs stand straight – one is firmly grounded while the other slightly

Rodin 1840 － 1917 ）的《青銅時代》（ L'age d'airain 1877 ），如果說《青

lifts up the heel. The whole work demonstrates a rising-up momentum.

銅時代》是象徵一個黎明時刻，《陽光》便是一個充滿活力的近午時間。

Its title Sunshine also suggests the feeling of innocence, vigorousness, openness, and liberty. This work also reminds us of Auguste Rodin’s L'age d'airain. If L'age d'airain symbolizes dawn, then Sunshine can be taken as a vigorous noon.

104

Timeless Elegance In Praise of Love

蒲添生 Paul Tien-Shen

懷念 Cherish 1981 銅 Copper 29×20×79cm

環抱的左手與撫著下巴的右手，將上半身緊緊捲住，幾乎和下半身即將分離，強力迴轉的身形，恰恰表現了生命向前、思想向後的「懷念」主題，入選了 1984 年法國獨立沙龍百週年展。

The left arm embraces itself and the right hand which touches the chin tightly circles the upper body as if it is about to separate from the lower part. The intensively twisted figure represents the theme of “Cherish” by suggesting that life should move forward while we think about the past. It was selected in the 100th Anniversary Exhibition of Salon des artists independents in 1984.

106

Timeless Elegance In Praise of Love

蒲添生 Paul Tien-Shen

亭亭玉立 Standing Gracefully 1981 銅 Copper 24×20×74cm

108

Timeless Elegance In Praise of Love

蒲添生 Paul Tien-Shen

回憶 Recollect 1987 銅 Copper 41×24×55cm

《懷念》與《回憶》是兩個似同又異的心理狀態，懷念是向外的，《回憶》則多向內的情緒，蒲添生在人體的語彙中，述說多樣化的內容，因此他說人體一如花語。

Cherish and Recollect describe two similar but yet different psychological states. Cherish is more outward while Recollect is more about the inward emotions. Human bodies become Paul Tien-Shen’s artistic vocabulary to narrate multiple stories. It is why he describes human bodies as flowers’ metaphors.

110

Timeless Elegance In Praise of Love

蒲添生

此為「溜冰」的表現，後仰的大弧度

《運動系列二》為體操平衡木的項目

Paul Tien-Shen

人體，展現滑冰中的動勢。溜冰上的

中之抬起後腿平衡的動作。以肢體包

動作，強調腰部作為力量的中心，是

圍了整個空間架構，明確顯出虛實，

Gymnastic Series 1~5

超越人體正常極限的弧度，表現流暢。

開放及封閉空間的對照。

1988

Gymnastic Series I is about

Gymnastic Series II is a gymnastic

“ skating. ” The body bends backward

movement to lift up the back leg on the

運動系列一 ~ 五

銅 Copper

to represent the momentum of skating.

balance beam. The structure of the space

1. 38×23×60cm

Most of the skating movement focuses

is supported by the physical movement,

2. 41×14×58cm

on the waist as the center of the power.

clearly demonstrating the comparison

4. 28×13×54cm

The smooth bend is beyond normal

between the real and the unreal, the open

5. 41×29×57cm

people's physical limitation.

space and the enclosed space.

3. 37×13×57cm

112

《運動系列三》表現前空翻的動勢，

《運動系列四》是人體大迴旋的動作，

《運動系列五》是後空翻的動作，大

是過渡時期一種微妙的姿勢之美。本

使空間有一種在虛實之中轉動不已的力

膽地以頭髮為支點著地。形體的單純

作品是屬於前空翻的動作，以右腳著

量。在虛與實的空間之中不停地轉動，

性時間與空間之懸宕感，這件作品大

地、身體腰部為中心支點向前翻滾。

因此暗示出第四向度的時間感。本作品

膽地以頭髮為支點，撐起整個身體的

是運動系列中，三度空間架構最經典之

重量。

Gymnastic Series III represents the

一件作品。 Gymnastic Series V is the backward

momentum of the front flip – the beauty of the transitional posture.

Gymnastic Series IV is the physical

flip with a bold attempt to use “hair”

The front flip in the work pivots the

movement of a great turn. The power of the

as the physical support while landing.

waist part as the center with right

rotation moves the space between the real and

The figure represents the purity of

foot landing on the ground.

the real, suggesting a sense of time existing in

time and the suspension created by

the fourth dimension. This work is one of the

the space. It is a brave choice to use

most classical ones about three-dimensional

hair as the pivot to support the weight

structure in the Gymnastic Series.

of the whole body.

Timeless Elegance In Praise of Love

蒲添生

《運動系列六》雙腳近乎 180°的角度，展現大幅度翻滾的表現。人體表

《運動系列七》，人體大腿處為平衡

Paul Tien-Shen

現的單純性以及形體的流暢簡化，訴說了一種抽象的美感。就如布郎庫西

之支點騰空而起。整個是屬於人體騰

運動系列六 ~ 十

（Constantin Brâncuşi 1876 － 1957）在《空間之鳥》（Oiseau dans l'espace,

空之動作，雙腳幾乎成一直線。平衡

Gymnastic Series 6~10

1922-1923）中以簡潔的弧度大膽的表述是相通的。布郎庫西《空間之鳥》

之支點騰空而起，表現出無限制的自

於紐約佳士得拍賣會一刷新世界雕刻品最高拍賣記錄大理石作品。

由空間。

Gymnastic Series VI represents the power tumbling with both legs

Gymnastic Series VII is the jump

widely split. The pure physical body and the smooth movement express

with the thigh as its pivot.

an abstract aesthetics, which is similar to the bold expression and the

this jumping movement, the both

concise arc in Constantin Brâncuşi 's Oiseau dans l'espace. Constantin

legs become a straight line. The

4. 20×18×74cm

Brâncuși 's Oiseau dans l'espac (1922-1923) set a record high as the

balancing pivot expresses the space

5. 25×13×52cm

marble sculpture sold at the highest price in Christie's New York.

of unrestrained freedom.

1988 銅 Copper 1. 32×15×78cm 2. 55×34×60cm 3. 47×28×60cm

114

《運動系列八》，是後空翻的動作，

《運動系列九》為踩在球上的平衡動作。以速寫為藍本，

《運動系列十》於 2009 年發現於蒲添生故居，手

屬於過渡時期的動作姿態。描寫一個

孫子蒲子超為模特兒的塑像。少年纖細的身材，身體與手

及雙腿肢體形成一個三角形的大空間，包覆著由

姿態到另一個姿勢的變化過程。

部動作試圖與底下滾動的球取得微妙的平衡。素描對照完

腳部彎曲構成的三角形的小空間，營造空間的變

成的雕塑品，確實是掌握了力量及神韻。

化。並有三個軸心，形成轉動的力量，分別為以手、頭部為中心以及腰部為軸心構成轉動的圓。

Gymnastic Series VIII is the backward flip. The transitional

Gymnastic Series IX displays a person balancing on top

posture visualizes the transformation

of a moving ball. The model was the artist's grandson.

Gymnastic Series X was discovered in 2009 at

process from one posture to another.

The artist roughly sketched the outline body form as the

Paul Tien-Shen's former residence. The sculpted

basis of his blueprint. The young man had a slim figure

young man's arms and legs came to form a

and Paul Tien-Shen cleverly used the torso and arms

triangular shape. With the slightly bending

to show the act of balancing on top of the moving ball.

knees, one can also see that there is a triangular

The completed sculpture resembled the essence of the

space. The three axes formed by the arms, head

original sketching and the artwork showed the figure had

and waist adroitly brought out an imaginary

mastered strength and elegant demeanor.

movement of turning.

Timeless Elegance In Praise of Love

關

於

張義雄

1914 年出生於嘉義，十多歲時在嘉義市中央噴水池邊遇陳澄波寫生而得到啟發，立志要做畫家。他讀

完專收日本人子弟的嘉義尋常小學校高等科，父親便帶他前往京都升學，在京都學業受挫後又折返嘉義中學就讀， 1932 年又再度赴日，並準備投考東京美術學校。在 1934 年取得中學文憑，父親卻遽然離世，突然頓失依恃，便在東京半工半讀，繼續在川端畫學校累積繪畫基礎。1944 年戰局逆轉，東京遭轟炸，張義雄前往北京另謀出路。

1946 年張義雄偕妻返台，連獲「省展」、「台陽展」數屆首獎。1950 年代初，畫壇已建立名聲，開設「純

粹美術社」，由於教學建立口碑，成為美術科系學生的校外研究所。此時期作品最大特色是粗礦的黑線條。 1974 年第一次遊歐後帶回的作品，色彩轉為明亮開朗，畫面充滿喜悅、抒情與浪漫，逐漸也擺脫生活的艱辛，成為繪畫市場的寵兒。 1980 年張義雄決心長居巴黎，他畢生最嚮往的藝術之都巴黎，遂成為流浪者張義雄的長期停留站。

張義雄 Chang Yi-Shiung

1914~

2004 年張義雄九十誕辰，歷史博物館舉辦畫業生涯以來最大回顧展。如李欽賢所稱，張義雄的生涯宛

如一隻漂鳥；張義雄的藝術好像流浪者之歌，在生活上他有抗拒命運的性格；藝術創作方面也無師承的碼頭可以靠岸。將近一世紀流轉，越過荊棘、歷盡波折，最難能可貴的是仍保有赤子之心，而其獨特的個性亦賦予作品有一種原始、突破桎梏的不凡生命力。

116

About

In 1914, Chang Yi-Shiung was born in Chiayi, Taiwan. When he was in his early teenage year, he encountered artist Chen Cheng Po sketching the central fountain in Chiayi City, and thus was inspired and determined to become a painter himself. After graduated from Chiayi elementary school, his father took him to study in Kyoto. Due to unsuccessful outcomes while studying at the Kyoto school, he returned to Chiayi, Taiwan for secondary education. In 1932 he returned to Japan entering the Tokyo University of Art, and prepared his candidacy for Fine Art certification. After he obtained his high school diploma in 1934, his father passed away. This death in his family left Chang losing financial support. He worked part time in Tokyo, and continue to accumulate skills in the Kawabata Painting School for learning painting technique basis. In 1944, when the war situation reversed and was not conducive to Tokyo, Chang decided to move to Beijing to look for a better opportunity.

In 1946, Chang Yi-Shiung came back to Taiwan with his wife. He was selected for several important art exhibitions, including the Provincial Exhibition and Tai-Yang art exhibition. He established a high status in Taiwanese arts field. The early 1950s, Chang build up his reputation for establishing â&#x20AC;&#x153;Pure Art Instituteâ&#x20AC;?, for art department students to learn painting basis off-campus. The significant feature in his artworks of this period was the black lines of the crude ore. After his travel to Europe in 1974, his artworks become brighter, and composed of cheerful colors and romantic atmosphere, and he finally moved the theme away from the hardships of life, and become popular in the art market. In 1980, Chang Yi-Hsiung determined to live in Paris, the most desirable city of art, and Paris became the last station in his entire life.

In 2004, Museum of History held Retrospective Exhibition Chang Yi-Hsiung on his 91st birthday. Taiwan Art researcher Li Chin-Hsien said, Chang Yi-Hsiung made his art like a drift bird; his artworks seem to be drifting, and have their own vitality to resist the fate of the hardships of life, like the artist himself. Almost a century goes by, over the thorns, and his artworks retain pure heart. Chang's unique personality also gives his artworks an extraordinary vitality.

117

Timeless Elegance In Praise of Love

年

表

張義雄 1914~

1914

出生於嘉義

1972

成為「日本美術聯盟會」正式會員

1926

於台南肖像學院學畫肖像；透過二伯張鼎駒結識陳澄波，開始與跟隨陳氏

1973

個展於東京中央畫廊

學習油畫 1927

畢業於嘉義尋常小學校高等科

1929

進入日本京都同志社中學，美術老師中堀愛作與陳澄波為東京美術學校同學

1931

於京都學業受挫，返台插班進入嘉義中學就讀，因蹺課看電影被學校勒令

回台省親；個展於台灣省立博物館（今國立台灣博物館） 1976

第二次個展於台灣省立博物館 1977

轉學 1932

赴日，準備投考東京美術學校

1933

進入京都兩洋中學

1934

取得中學文憑；父親去世，在東京半工半讀，準備考試

1935

與陳澄波、劉新碌、翁崑德、林英杰等組成「清辰美術協會」與翁崑德、林英杰聯展於嘉義公會堂

個展於台北太極畫廊成為台灣首位畫廊經紀藝術家

1980

定居法國巴黎獲「法國春季沙龍特別獎」；《老人與海》入選「法國秋季沙龍」

1981

個展於台北百家畫廊《巴黎風景》入選法國春季沙龍

1982

《小星星之歌》入選法國春季沙龍

1936

五次投考東京美術學校均落榜，持續在「川端畫學校」習畫

1940

與數名嘉義畫家組「青辰美術協會」，由陳澄波擔任指導

1943

遷至東京

1944

為避轟炸前往北京；任職東亞交通公弘報課

1986

「張義雄個展」於台北普及畫廊

1945

與童養媳江寶珠結婚

1987

成為第一位獲得「法國藝術家年金」的台灣畫家

1946

偕妻返台，落腳於圓山以畫人像維生；加入台北橋頭「吉他、曼陀林樂團」；任泰北中學音樂老師

《靜物》入選法國秋季沙龍 1983

《靜物》入選法國春季沙龍與妻子江寶珠作品《花》入選法國秋季沙龍

「張義雄、江寶珠夫妻聯展」於台北普及畫廊 1988

成為法國巴黎秋季沙龍正式會員，為台灣第一位入會畫家

1948

於台灣師範學院任助教

1949

榮獲「台陽美展」特選（至 1955 年間共獲此展三次特選）

1950

遷居西寧南路，開設「純粹美術社」

1951

《秋夜》榮獲「第六屆全省美展」主席

1990

個展於台北高格畫廊

1952

《裸女》榮獲「第七屆全省美展」主席獎

1991

個展於台北時代畫廊

加入「青雲美術會」

1992

「紀元美術會創始會員展」於台北誠品畫廊

1953

《補雨傘》榮獲「第八屆全省美展」主席獎

1993

《靜物》入選法國秋季沙龍

1954

與洪瑞麟、陳德旺、張萬傳、廖德政、金潤作合組「紀元美術會」

1994

台北市立美術館舉辦「張義雄八十回顧展」

7 月，「紀元美術會」首展於美而廉畫廊

1995

個展於台北哥德藝術中心

1959

「純粹美展」於台北新聞大樓

1997

個展於台北哥德藝術中心

1960

「張義雄首次個展」於台北聚寶盆畫廊

2000

《零》入選法國秋季沙龍

1961

「張義雄個展」於台北中山堂

2003

妻子江寶珠病逝東京後，返回日本定居

1962

「張義雄水彩個展」於日本東京的中央畫廊

2004

台北國立歷史博物館舉辦「張義雄九十回顧展」

1963

受聘為國立藝專（今國立台灣藝術大學）兼任副教授

1964

六十四件作品被美國收藏家購藏舉家移民巴西，遭掮客詐騙，流落日本東京，後取得合法居留權，生活潦倒

118

個展於日本東京銀座同和畫廊

個展於法國巴黎的東京銀行、台北普及畫廊 1989

為聲援五二○事件，於台北春之藝廊舉辦「張義雄社會關懷義賣畫展」贊助農權會

Curriculum Vitae

Chang Yi-Shiung 1914~

1914 1926 1927 1929 1931 1932 1933 1934 1935 1936 1940 1943 1944 1945 1946 1948 1949 1950 1951 1952 1953 1954 1959 1960 1961 1962

Born in Chiayi Studies painting portraits at Tainan Portrait Academy; Meets Chen Cheng-Po through his uncle, Chang Ding-Zhang. Begins to learn oil painting under the Chen family Graduates from higher division of Chiayi Elementary School Gains admission to Doshisha Middle School in Kyoto, Japan. Art teacher, Nakahori Aisaku, happened to have been classmates with Chen Cheng-po at Tokyo School of Fine Arts Experiences frustration while studying in Kyoto. Returns to Taiwan and starts taking classes at Chiayi Middle School. Ordered to transfer to another school after being caught skipping class to watch movies Moves to Japan and prepares for admissions test to Tokyo School of Fine Arts Gains admission to Ryouyou High School in Kyoto Obtains high school diploma. Father passes away. Begins to work while studying in Tokyo, and prepares for test Co-founds Qing Chen Art Association along with Chen Cheng-Po, Liu Hsin-Lu, Wong Kun-De Holds joint exhibition with Wong Kun-De and Lin Ying-Chieh at Chiayi Public Hall Fails to gain admission into Tokyo School of Fine Arts after taking the exam five times. Continues to practice painting at Kawabata Painting School Co-founds Qing Chen Art Association with multiple painters in Chiayi. Cheng-Po Chen takes on guiding role for association Moves to Tokyo Travels to Beijing to avoid bomb explosions. Employed in transport companies for East Asia Marries child bride, Bao-Zhu Chiang Returns to Taiwan with wife and settles at Yuanshan Paints portraits for a living; joins the Guitar, Mandolin Band in Chiaotou, Taipei; serves as music teachers at Taibei High School Serves as assistant professor at Taiwan Normal University Receives special recognition at Tai-yang Art Exhibition (receives a total of three special recognitions at this exhbition by 1955) Moves to Xining S. Rd. and establishes Pure Art Society Autumn Evening receives chairman award at the 6th Taiwan Provincial Fine Arts Exhibition Nude Woman receives chairman award at the 7th Taiwan Provincial Fine Arts Exhibition Joins Qingyun Art Association Fixing Umbrella receives chairman award at the eighth Taiwan Provincial Fine Arts Exhibition Collaborates with Hong Rui-Lin, Chen Te-Wang, Chang Wan-Chuan, Liao TeCheng , and Jin Run-Zuo to form the Era Art Association. July - The association holds its first exhibition at the Mei Er Lian Gallery Pure Art Exhibition, Taipei News Buidling First Solo Exhibition, Treasure Bowl Gallery, Taipei Solo Exhibition, Zhongshan Hall, Taipei Watercolor Painting Solo Exhibition, Central Gallery, Tokyo, Japan

1963 1964 1972 1973 1976 1977 1980 1981 1982 1983 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1997 2000 2003 2004

Became part-time associate professor at National Taiwan Academy of Arts (now National Taiwan University of Arts) 64 works are collected by U.S. based collector Family immigrates to Brazil. Returns to Tokyo after falling victim to con scheme Obtains illegal resident status in Japan Becomes formal member of the Japanese Art Alliance Solo exhibition, Central Gallery, Tokyo Returns to Taiwan to visit relatives. Holds solo exhibition at Taiwan Provincial Museum (National Taiwan Museum) Solo exhibition at Dowa Gallery, Ginza, Tokyo Second solo exhibition at Taiwan Provincial Museum Solo Exhibition, Taichi Gallery, Taipei Becomes first contracted artist in Taipei Moves to Paris, France Wins special recognition award at Salon d'Automne. Old Man and the Sea enters Salon d'Automne, France Solo exhibition, Pai Jia Gallery, Taipei View of Paris enters Salon d'Automne, France Song of the Little Star enters Salon d'Automne, France Still Life enters Salon d'Automne, France Still Life enters Salon d'Automne, France Flower co-created with his wife is featured at the Salon d'Automne, France Chang Yi-Shiung Solo Exhibition, Pu Ji Gallery, Taipei Becomes first Taiwanese artist to receive funding from the French Artist Fund Chang Yi-Shiung and Jiang Bao-Zhu Joint Exhibition, Pu Ji Gallery, Taipei Becomes official member of Salon d'Automne and Pu Ji Gallery Holds solo exhibition at Bank of Tokyo, Paris, and at Pu Ji Gallery, Taipei Holds charity auction, 'Chang Yi-Shiung Painting Auction', at Spring Gallery in response to the 520 Incident to support farmers Solo Exhibition at Gao-Ge Gallery, Taipei Solo Exhibition at Shi Dai Gallery, Taipei Era Art Association Founding Member Exhibition, Eslite Gallery, Taipei Still Life enters the Salon d'Automne, France 'Retrospective Exhibition of Chang Yi-Shiung at the Age of Eighty' held at Taipei Fine Arts Museum Solo exhibition at Goethe Art Center, Taipei Solo exhibition at Goethe Art Center, Taipei Zero enters the Salon d'Automne, France Wife, Jiang Bao-Zhu, passes away in Tokyo due to illness. Returns to live in Japan Chang Yi-hsiung at Ninety : A Retrospective Exhibition is held at National Museum of History in Taipei

119

Timeless Elegance In Praise of Love

張義雄 Chang Yi-Shiung

裸女 Nude 1960 油彩、畫布 Oil on canvas 40F

此幅油畫作品為在畫《海邊的離別》這張畫之前所繪。在《海邊的離別》

This oil painting was painted before The Seaside Farewell. In The Seaside

作品內，左有一男右有一女，這張則是只有一女；張義雄特別滿意此作主

Farewell, there is a man on the left and a woman on the right; while there is

題內，女性的手部表情動作；此作可稱為《裸女》亦名《海邊的離別序

only one woman in this painting. Chang Yi-Shiung is particularly satisfied

曲》。

with the woman’s hand gesture. This painting can be called as Nude or The Prelude of the Seaside Farewell.

畫這幅圖時並沒有人體模特兒，完�是作者以想像的方式推測女模特兒的姿勢，據作者自稱，這樣畫是很困難的，但是他克服了。張義雄說當時在

Chang Yi-Shiung did not work with a model when painting Nude. Instead, he

台灣的人體模特兒，台中有一位，北部有一位就是林絲緞小姐，�台僅此

exercised his imagination to speculate the posture of the woman. According to

二位。此作的背景採朱、紅、粉紅，主要是想表現黃昏夕陽的情景，作者

Chang, it was indeed difficult but he still overcame it.

極喜愛以黃昏為背景，仿佛淡著淡淡的哀愁。 Chang Yi-Hsiung said that there were only two art models in Taiwan at that time. One lived in Taichung, and the one lived in Taipei was Miss Lin SuTuan. The painter might have adopted a used canvas to recompose the image, but Chang could not recall it since it was so many years ago. The scarlet, red, and pink in the background of the painting helps represent the setting sun at dusk, which was the favorite theme of Chang for the slight sorrow it expressed.

120

Timeless Elegance In Praise of Love

關

於

陳景容

陳景容於 1934 年出生於彰化。台灣師範大學美術系畢業後，創立五月畫會並赴日留學，畢業於日本武藏野美術大學、東京學藝大學、國立東京藝術大學壁畫研究所。

學成返台後，陳景容先後任教於國立藝專（今台灣藝術大學）、文化學院（今中國文化大學）與台灣師範大學美術系暨研究所，出版二十八本關於繪畫媒材技法和西洋繪畫理論的著作。除了熱心教學，陳景容也積極創作，他擅長油畫、素描、版畫、嵌畫、濕壁畫，也是將正統繪畫修復觀念引進台灣的第一人。他的作品以大幅油畫為主，題材多為低彩度的風景、人體與石膏像，其風格細膩、沉鬱而清冷孤寂，可說是台灣超現實主義風格的代表畫家，受到國內外畫壇肯定。以《騎士雕像與裸女》、《畫室的模特兒》等作品多次入選「法國藝術家沙龍展」並代表法國參加「大師與新秀展」。歷年來的個展及重要個展不計其數，曾展出作品於巴黎羅浮宮、巴黎大皇宮、巴黎六區市政廳、東京練馬美術館、台北市立美術館、國父紀念館、中正紀念堂。1987 年，為國家音樂廳繪製濕壁畫《樂滿人間》。1988 年，

陳景容 Chen Ching-Jung

1934~

為省立美術館門廳繪製大油畫《十年樹木，百年樹人》。曾獲日本春陽展四十週年紀念大獎、法國藝術家沙龍銅牌獎、銀牌獎及榮譽獎、中國畫學會金爵獎、省立美術館大廳油畫徵畫比賽首獎、吳三連文藝獎、文建會文馨獎等。獲選為法國秋季和獨立沙龍永久會員。

陳景容無疑是台灣當代的大師級藝術家，不僅在藝術與學術上成就卓越，也致力於對社會奉獻與回饋，他對於藝術的熱情執著與勤奮不懈的精神，令人欽佩。

122

About

Chen Ching-Jung was born in 1934 in Changhua, Taiwan. After he finished his arts degree from the National Taiwan Normal University, he went abroad to Japan for further learning at the Musashino Art University and Tokyo Gakugei University. Finally he received his master's degree in fresco painting at the Tokyo Geijutsu Daigaku. When he had completed his education, he returned to Taiwan and became a professor at various institutes such as the National Taiwan University of Arts, Chinese Cultural University and National Taiwan Normal University. Besides being good at teaching, he was also earnest in doing research; he published 28 books about art techniques and Western art theories. He was also skillful at oil painting, sketching, woodcut printing and fresco painting. He was one of the Taiwanese artists to bring in art conservation techniques to Taiwan. His works consisted mainly of large-scale oil painting. The subject matters composed mostly on landscapes and figures, he used dim colors in order to display each item on a more gloomy and lonely side. The amount of his works is numerous and many of them had exhibited in foreign galleries such as Le Louvre, Grand Palais and the Nerima Art Museum. He had received many awards such as the 40th anniversary of Shunyo-Kai Art Society award et cetera. Chen was the archetypical painter of realism in Taiwan. His passion and determination in pursuing excellence in the arts really deserves the public's admiration.

123

Timeless Elegance In Praise of Love

年

表

陳景容 Chen Ching-Jung 1934~

1934

出生於彰化市

雕塑《教堂與騎士》獲法國春季沙龍油畫銅牌獎

1952

進入國立台灣師範大學美術系

油畫《玫瑰花與洋娃娃》入選法國秋季沙龍

1956

國立台灣師範大學美術系畢業

1960

赴日留學，插班進入武藏野美術大學西畫系三年級

法國春季沙龍

1962

首次個展於國立藝術館

個展於台北市立美術館

入選第三十九屆春陽展

為國家音樂廳繪製濕壁畫《樂滿人間》

1963 1965

武藏野美術大學畢業

1988

《海邊的靜物》入選法國秋季沙龍個展於台北大家藝術中心 1990

東京藝術大學壁畫研究所畢業入選第三十五屆日本東京版畫協會展

1976

個展於印象畫廊 1991

油畫《澎湖的冬天》經帝門邀請參加法國秋季沙龍 1992

任「第十三全國美展」評審委員油畫《古城之月》入選法國秋季沙龍

參加「世紀畫會」（1969-1987）

與奧德希夫於帝門藝術中心聯展 1993

參加中正藝廊首展「當代名家國畫油畫大展」

參加「中華民國現代藝術展覽」於法國巴黎、第二屆烏拉圭國際雙年展、

入選法國秋季沙龍

世界美術教育會議

獲選「法國秋季沙龍油畫部」會員

版畫作品獲中國畫學會金爵獎

1994

於印象藝術中心舉辦母子聯展入選法國秋季沙龍

個展於台灣省立博物館

1996

任「台灣師範大學美術系暨研究所」專任教授

於聖若望大學舉行雙人展

1997

「存在與意象—陳景容創作四十年展」於台北市立美術館

任台灣師範大學美術系專任教授

1999

獲頒第二屆文馨獎銀獎

1982

油畫作品獲吳三連文藝獎

獲頒台北市榮譽市民

1983

參加台北市立美術館開館國內藝術聯展

《騎士雕像與裸女》獲法國藝術家沙龍銀牌獎

1984

入選日本東京版畫協會展

出版著作〈壁畫藝術〉

1985

參加全省美展 40 年回顧展

1986

124

油畫《廣場》入選法國藝術家沙龍

第四次個展於日本大和畫廊

代表國家參加日本第一展 1977

個展於現代畫廊

入選第三十六屆日本東京版畫協會展

參加翠光美術展覽會（1969-1990） 1975

參加台灣省立美術館的「台灣美術三百年作品展」銅版畫《街燈下》、《夕陽》、《甘蔗園》入選法國秋季沙龍

返台任教於國立藝專美術科與中國文化學院美術系入選第四十五屆春陽展

1969

《十年樹木，百年樹人》獲省立美術館門廳大畫比賽第一名

東京學藝大學畢業

入選第四十四屆春陽展 1968

石版畫《海邊的騎士》、《佛陀與印度少女》、《尼泊爾的小樂師》入選

與壁畫家畫家群合得「春陽畫會四十週年紀念大獎」開始每年參加中日美術交換展（1965 ～ 1984） 1967

1987

2000

獲文藝協會榮譽文藝獎

入選日本版畫協會展

《畫室的模特兒》獲法國藝術家沙龍榮譽獎

於彰化縣立文化中心舉辦個展

《格拿拉的街景》代表法國參加「今日大師與新秀沙龍展」

油畫《櫥窗》、《中國小姐》入選法國獨立沙龍

參加哥德藝術中心舉辦的「中堅輩主力畫家展」

Curriculum Vitae

2001

獲第四屆文馨獎銅獎

「陳家三代聯展」於台灣國立師範大學

《一個奇異的都市》入選法國藝術家沙龍

半島藝術季活動於屏東

《靜物》入選法國秋季沙龍

2002

2008

「台俄美術作品交流展」於國父紀念館

個展於美國洛夏磯陳景容美術館

「陳景容藝術精選個展」於 99 藝術中心

個展於日本東京練馬美術館、台灣國立師範大學、台中市大古文化中心

獲北京「2008 奧林匹克美術大會」特邀入選獎；獲頒北京奧運聖火火炬、

《沙羅美》入選法國藝術家沙龍

2003

永久典藏證書與金牌獎章

《靜物》代表法國參加「大師與新秀展」

2009

「陳景容創作五十年回顧展」於台中市文化局大墩藝廊、台北國父紀念館

出版著作〈油畫的材料研究與實際應用〉

2010

「亞洲電影節邀請展」於法國 Vesoul 市政廳

個展於法國巴黎華僑文教中心、桃園縣政府文化局；

「第四十二屆巴黎沙龍展」參展

馬賽克鑲嵌畫《聖家像》贈予梵蒂岡天主教教皇若望保祿二世

參展於法國 Crolles 市的台灣文化節

「台灣青年畫家聯展」於巴黎華僑文教中心

「國泰世華藝術十周年特展—拾情話藝」

「巴黎畫家展」於高雄市立美術館

「台藝大跨世紀薪傳教授創作展」

「台灣畫家國家美術協會 S.N.B.A. 聯展」於巴黎羅浮宮

「101 師生聯展」、「504 師生聯展」於台北師大畫廊

《咖啡店》入選法國秋季沙龍、法國大師與新秀展出版著作〈靜寂與哀愁〉 2004

2006

「陳景容 77 回顧展」於台北縣文化中心 2011

「百歲百畫—台灣當代畫家邀請展」

個展於台北縣板橋政府藝文中心藝廊、台中市由鉅藝術中心、新竹縣立

「陳景容寂靜的內心世界─油彩、陶瓷與馬賽克鑲嵌畫展」於台北縣鶯歌

美術館、巴黎市第六區市政大廳

陶瓷博物館、台中文化創意產業園區 B11 國際展演館

「陳家三代繪畫聯展」於師大畫廊

「陳景容師生聯展—介於夢境與現實之間」於台北師大德群藝廊

任「台灣師範大學美術研究所」名譽教授

馬賽克鑲嵌畫《樹蔭下的即興演奏》、《人間樂章》展於桃園縣政府中壢

個展於國立歷史博物館、彰化藝術館

藝術館

「陳景容巴黎師生聯展」於巴黎華僑文教中心獲邀參加巴黎羅浮宮 Carrousel 廳國家美術家沙龍協會展出 2007

「陳景容油畫、版畫、馬賽克創作展」於雲科大藝術中心

《廣場》代表法國參加「大師與新秀展」

馬賽克鑲嵌畫《來喫茶》展於台中創意文化園區 2012

陳景容美術館於國立屏東科技大學建成

獲法國國家圖書館收藏三十幅版畫及素描作品

「陳景容個展－馬賽克鑲嵌及西畫」於國家圖書館藝術暨視聽資料中心藝廊

「陳景容創作展」於師大畫廊

「中部地區油畫名家聯展」於亞洲時代巽選菁華廣場

「陳景容教授個展」鑲嵌畫與油畫主題展於師大圖書館「師大教授聯展」於台北國父紀念館

個展於台南市立文化中心 2013

個展於彰濱秀傳人文藝術館

「五月畫會藝術聯展」「台陽畫會展」於中正紀念堂「全國油畫展」「獨立沙龍展」於大皇宮「法國沙龍展」於羅浮宮「百號油畫展」於港區美術館

125

Timeless Elegance In Praise of Love

年

表

Chen Ching-Jung 1934~

1934

Born in Changhua

1952

Enrolled in the Art Department at National Taiwan Normal University

1955

Received first place at the oil painting competition, Art Department, National

1956

1985

Entered the Japan Print Association Exhibition, Japan 1986

1962

Oil paintings, Shopwindow and Miss China, entered Salon des artistes indépendants,

Received second place for oil painting at the National College Fine Art Competition

France

Graduated from the Art Department at National Taiwan Normal University

Sculpture, Church and Knight, won bronze prize at Salon de Ecole Franćaise, France

Transferred as a third year student to the Western Painting Department at

Oil painting, Rose and Doll, entered Le Salon d'Automne, France 1987

1965

entered Salon de Ecole Franćaise, France

First solo exhibition held at National Museum of Fine Art

Solo Exhibition at Taipei Fine Arts Museum

Graduated from Musashino Art University

Created frescoes, Music Amongst People, for the National Concert Hall 1988

1968

place at the lobby painting competition, Provincial Taiwan Museum of Fine Art

Graduated from Tokyo Gakugei University

Still Life by the Seaside entered Le Salon d'Automne, France

Graduated from the Graduate School of Mural Painting, Tokyo University of the Arts

Solo exhibition at Dachia Art Center, Taipei 1990

Etchings, Under the Streetlight, Sunset, and Sugar-cane Plantations, entered Le

Entered the 35th Japan Print Association Exhibition, Japan

Salon d'Automne, France

Return to Taiwan; Began teaching at the fine art departments of the National

Solo exhibition at INSIAN GALLERY 1991

Entered at the 45th Shunyo-kai Entered at the 36th Japan Print Association Exhibition, Japan

1975

Oil painting, Winter Lake, entered Le Salon d'Automne, France, via invitation from 1992

Oil painting, Plaza, entered Salon des Artistes, France Appointed to panel of judges at the 13th National Art Exhibition of the Republic of China

Participated in the Tshwey-Kuang Fine Arts Exhibition (1969 ~ 1990)

Oil painting, Ancient Moon, entered Le Salon d'Automne, France

Participated in the Chinese Modern Art Exhibition (Paris, France), 2nd Biennal

Group exhibition at Dimensions Art Center 1994

Print work awarded Taiwan Painting Association’s Gold Noble Prize

Mother and son gourp exhibition at Insian Gallery Entered Le Salon d'Automne, France

1996

Represented Taiwan at the Daiichi Exhibition of Art, Japan

Served as full-time professor at the Department and Institute of Fine Arts, Taiwan Normal University

Held solo exhibition at Taiwan Provincial Museum

1997

'Being and images : 40 years of Chen Ching-jung's vision', Taipei Fine Arts Museum

Double-Solo Exhibition at St. John's University

1999

Awarded silver prize, 2nd Wenxin Awards

Became full-time professor at the art department of Taiwan Normal University

Received Taipei City honorable citizen award

1982

Oil painting awarded Wu San-Lien Arts and Literature Award

Knight and Nude Girl won bronze prize at the Salon des Artistes, France

1983

Participated in domestic artist group exhibition at the opening exhibition of Taipei Fine Arts Museum

1984

126

Dimension Endowment of Art

Became member of the Century Art Association (1969 ~ 1987)

International Society for Education Through Art

1977

Solo exhibition at Modern Art Gallery

Held forth solo exhibition at Yamato Gallery, Japan

de Pintura Internaciona de la Republica (Uruguay), and World Congress of 1976

Participated in 'The Taiwan Fine Arts Exhibition of 300 Years', Taiwan Museum of Art

Entered the 40th Shunyo Art Association

Taiwan Academy of Arts and College of Chinese Culture

1969

It Takes Ten Years To Grow Trees But A Hundred Years To Rear People won first

With muralists co-award the Shunyo Art Association 40th Anniversary Award Participate in the Chinese-Japanese Art International Exhibition (1965 ~ 1984) 1967

Lithographs, Knight by the Shore, Buddha and Indian Girl, and Nepal Musicians,

Musashino Art University, Japan Entered the 39th Shunyo Art Association 1963

Held solo exhibition at Changhua County Cultural Center

Taiwan Normal University

Received second place for oil painting at the National College Fine Art Competition 1960

Participated in the 'Retrospective of 40 years' Taiwan Provincial Exhibition of Fine Arts'

Entered the Japan Print Association Exhibition, Japan

Published Art of Mural Painting 2000

Awarded honorary award from Awarded Chinese Writer's & Artist's Association Model in the Studio won honorary award at Salon des artistes, France

Curriculum Vitae

2001

Street View of Genoa presented France at the Grands et Jeunes d' aujourd hui Grand

'Salon Sociéte National de Beaux Art', Louvre

Participated in Prominent Painter Art Exhibition by Goethe Art Center

'National Large-sized Oil Paintings Exhibition', Gang Qu Fine Art Museum

Awarded bronze prize, 4th Wenxin Awards

'Three Generation of Chen Group Exhibition', National Taiwan Normal University

A Strange City entered the Salon des Artistes, France Still Life entered the Salon des Artistes, France

2002

Ping-Tung Peninsula Art Festival 2008

of Science and Technology

Solo exhibition, Chen Ching-Jung Museum, Los Anglos, U.S.A.

'Taiwan Russia Art Exchange', Sun Yat-sen Memorial Hall

Solo exhibition, Nerima Art Museum, Tokyo, Japan; National Taiwan Normal

'Chen Ching-Jung Select Work Exhibition', 99 Art Center

University; Da Gu Cultural Center, Taichung Sarami entered the Salon des Artistes, France

Awarded 2008 Beijing Olympic Fine Arts Award 2009

Still Life presented France at the Grands et Jeunes d' aujourd hui Grand Published the book, Oil painting materials research and Application 2003

Participated in 42th Salon de Paris

Gave mosaic work, Holy Family, to Pope John Paul II

Participated in the Taiwan Culture Festival at Crolles, Fance

'Young Painters of Taiwan Group Exhibition', Centre Culturel Chinois de Paris, France

'Cathay Art Special Ten Year Exhibition - Speak Love Do Art'

Peintres de Paris, Kaohsiung Museum of Fine Arts

'National Taiwan University of Arts Centurial Professor Exhibition'

S.N.B.A. Group Exhibition, Louvre, Paris

'101 Student Teach Group Exhibition' and '504 Student Teach Group' Exhibition held at NTNU Gallery 2011

'100 Taiwan Contemporary Invitational Exhibition'

Solo exhibition Banqiao City Hall Cultural Center Gallery, Taipei County, GSR

'The Tranquil Inner World of Chen Ching-Jung - Oil, Ceramic, and Maniac

Gallery, Taichung City; Museum of Fine Arts, Hsinchu County ; Hôtel de Ville,

Exhibition' held at Yingge Ceramics Museum and at the Taichung Cultural and

Paris 6ème arrondissement

Creative Industries Park

'Three Generation of Chen Group Exhibition', Gallery of National Taiwan Normal University

'Chen Ching-Jung and Students - Between Dream and Reality', De Qun Gallery, NTNU

Became honorary professor at the art institute of National Taiwan Normal University

Mosaic works, Music under the Tree and Medley of Life, were shown at Chungli

Solo exhibition at National Museum of History and Changhua Arts Museum

Museum of Art, Taoyuan County Government

Chen Ching-Jung and Students Group Exhibition, Centre Culturel Chinois de Paris, France

Mosaic work, Tea Time, was exhibited at the Taichung Cultural and Creative

Invited to take part in Art Salon Exhibition hosted at Louvre’s Carrousel

Industries Park

Thirty works collected by the National Library of France

Chen Ching-Jung Museum was founded within the National Pingtung University of

'Chen Ching-Jung Solo Exhibition', Gallery of National Taiwan Normal University 2007

Invited to Asia Film Festival, Vesoul City Hall, France

Solo exhibition at Centre Culturel Chinois de Paris, France; Taoyuan Cultural Center

Published Silence and Sadness

2006

'Fifty Year Retrospective Exhibition by Chen Ching-Jung' held at Cultural Affairs Bureau,Taichung City Government Dadun Gallery and at Sun Yat-sen Memorial Hall.

2010

Cafe entered Le Salon d'Automne and Grands et Jeunes d' aujourd hui Grand, France 2004

'Chen Ching-Jung Oil, Print, and Mosaic Exhibition', Art Center, Yunlin University

Plaza presented France at the Grands et Jeunes d' aujourd hui Grand

'Prof. Chen Ching-Jung Solo Exhibition, Mosaic and Oil Painting Exhibition',

Science and Technology. 2012

National Taiwan Normal University Library

at the National Taiwan Library Art Gallery

'National Taiwan Normal University Professor Exhibition', Sun Yat-sen Memorial Hall, Taipei

Exhibition, 'Chen Ching-Jug Solo Exhibition - Mosaic and Western Painting', was Solo exhibition held at Tainan Municipal Cultural Center.

2013

Solo Exhibition held at Show Chwan Humanities and Art Gallery.

'The May Art Group Exhibition' 'Tai-Yang Art Exhibition', Chiang Kai-shek Memorial Hall 'National Oil Painting Exhibition' 'Salon des Independants', Grand Palais

127

Timeless Elegance In Praise of Love

陳景容 Chen Ching-Jung

聽！那聲音來自何處 Listen! Where Comes the Sound 1989 油彩、畫布 Oil on canvas 80P

128

Timeless Elegance In Praise of Love

陳景容 Chen Ching-Jung

海邊靜物 Seaside Still Life 1993 油彩、畫布 Oil on canvas 65×100cm

130

Timeless Elegance In Praise of Love

陳景容 Chen Ching-Jung

高山同胞 Aboriginal People 1993 油彩、畫布 Oil on canvas 10P

132

Timeless Elegance In Praise of Love

圖

陳澄波

Chen Cheng-Po

裸女斜坐側右

坐姿背面裸女

Seated Nude Leaning to the Right

Back of a Seated Nude

油彩、畫布

Oil on canvas

20F

10F

P. 17

P. 23

陳澄波 Chen Cheng-Po

陳澄波

裸女握肘

Chen Cheng-Po

Nude Female Holding Own Elbow 1941

油彩、畫布

站立裸女 Standing Nude

油彩、木板 Oil on wood

Oil on canvas

22.5 × 15.5cm

12F

P.27

P. 19

陳澄波 Chen Cheng-Po

裸女沉思 Thinking Nude 1930

油彩、畫布

李梅樹 Lee Mei-Shu

小憩之女 Resting Lady 1935

Oil on canvas

油彩、畫布

10F

Oil on canvas

P. 21

100F P. 33

陳澄波 Chen Cheng-Po

李梅樹

少女舞姿

Lee Mei-Shu

Dancing Girl

秋實

1932

Autumn Fullness

油彩、畫布

1941

Oil on canvas

油彩、畫布

10M

Oil on canvas

P. 25

50F P. 41

134

錄

Catalog

李梅樹

楊三郎

Lee Mei-Shu

Yang San-Lang

冰果店

南方小姐

Cold Drink and Fruit Shop

Lady from the South

1974

1943

油彩、畫布 Oil on canvas

油彩、畫布

60P

Oil on canvas

P.37

50F P. 59

李梅樹 Lee Mei-Shu

河岸清晨 Morning of Riverbank 1972

油彩、畫布 Oil on canvas 12F P.43

李石樵 Lee Shih-Chiao

郊遊 Excursion 1980

油彩、畫布 Oil on canvas 30F P. 71

楊三郎 Yang San-Lang

拿書少女 Girl with a Book

油彩、畫布 Oil on canvas 50F P. 61

楊三郎 Yang San-Lang

母與子 Mother with Child

油彩、畫布 Oil on canvas 12F P. 63

陳植棋

Chen Jr-Chi

觀音像

夫人像

Kuan-Yin Boddhisattva

Woman Portrait

1927

油彩、畫布

Oil on canvas

10F

30P

P. 51

P. 49

135

Timeless Elegance In Praise of Love

圖

陳景容劉啓祥 Liu Chi-Hsiang

Chen Ching-Jung

海邊靜物

白衣少女

Seaside Still Life 1993

Young Girl in White Dress

油彩、畫布

1986

Oil on canvas 65 × 100cm P. 129

油彩、畫布 Oil on canvas 30F

陳景容

P. 79

Chen Ching-Jung

高山同胞 Aboriginal People

洪瑞麟

1993

Hong Rui-Lin

油彩、畫布

朝妝

Oil on canvas

Morning Toilette

10P

1934

P. 131

油彩、畫布 Oil on canvas 30F P. 95

陳景容 Chen Ching-Jung

聽！那聲音來自何處 Listen! Where Comes the Sound 1989

張義雄 Chang Yi-Shiung

裸女

油彩、畫布 Oil on canvas 80P P. 127

Nude 1960

油彩、畫布 Oil on canvas 40F P. 119

蒲添生 Paul Tien-Shen

陳德旺 Chen Te-Wang

裸女 Nude

油彩、畫布 Oil on canvas 8P P. 87

136

春之光 Light of Spring 1958

銅 Copper 51 × 48 × 175cm P. 101

錄

Catalog

蒲添生

Paul Tien-Shen

陽光

懷念

亭亭玉立

Sunshine

Cherish

Standing Gracefully

1981

銅

Copper

30×28×81cm

29 × 20 × 79cm

24 × 20 × 74cm

P. 103

P.105

P. 107

蒲添生 Paul Tien-Shen

運動系列一 ~ 十 Gymnastic Series 1~10

蒲添生 Paul Tien-Shen

回憶

1988

銅 Copper 1. 38 × 23 × 60cm

Recollect

2. 41 × 14 × 58cm

1987

3. 37 × 13 × 57cm

銅 Copper 41 × 24 × 55cm P. 109

4. 28 × 13 × 54cm 5. 41 × 29 × 57cm 6. 32 × 15 × 78cm 7. 55 × 34 × 60cm 8. 47 × 28 × 60cm 9. 20 × 18 × 74cm 10. 25 × 13 × 52cm P. 110-114

137

T i me l e s s Elegance

愛 // 與 // 美的 // 禮 // 讚 In Praise Praise of of Love Love In

發行人

余彥良

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

印刷

日動藝術印刷有限公司

出版

2013年6月初版

ISBN

978-986-88331-7-3 （平裝）

Executive Director

Yu Yen-Liang

Publisher

Liang Gallery Co., Ltd

Editor

Liang Gallery

Printing

Jih-Tung Art Pringting Co., Ltd.

Publishing Date

First Edition, June, 2013

ISBN

978-986-88331-7-3 (Paperbound Edition)

www.lianggallery.com‧Tel +886-2-2797-1100‧Fax +886-2-2656-0033‧lianggallery@gmail.com 台北市11492內湖區瑞光路366號 | No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm | 週一公休 Closed on Monday