時間 2020/07/03 10:00 ~ 2020/12/06 18:00
1.請下載軟體。 Install the Artivive app.
2.找到標示AR之作品。 Find artworks marked with the Artivive icon.
3.使用軟體對準作品即可觀看動畫。View the artwork through your smartphone.
Born in Tainan, Wu-Yung Hsu (1920-2016) is one of the most important painters in the history of modern art in Taiwan. He graduated from the Taihoku Higher School(now the National Taiwan Normal University), and studied art under Shiotsuki Tōho. In 1941, he enrolled in Tokyo Imperial University (now the University of Tokyo) to study medicine; at the same time, he studied sketching under Higuchi Karoku, and during this period, his work was chosen to be shown at the Dokuritsu Fine Arts Society Exhibition. After the Second World War, he received a scholarship to study at the University of California. In addition to visiting museums in the United States to study the works of different artists, he also held his own exhibitions there. After returning to Taiwan, he practiced medicine in various places in Taiwan, yet he continued to paint, and had his work shown at the Provincial Exhibition and the Taiyang Exhibition for more than 20 years. He retired from the medical profession in 1987, after which he became a professional artist.
In 2019, Wu-Yung Hsu's family donated 100 of his works to the Tainan Art Museum (TAM) for its inaugural exhibition as well as an exhibition room dedicated to the artist in the planning. It just so happens that the year 2020 coincides with Wu-Yung Hsu’s 100th birthday, and so the museum plans to hold an exhibition as an homage to the artist, featuring the abovementioned works as the core of the show. The exhibition will introduce the Tainan painter with multiple identities to the people of Taiwan and the world, and convey his artistic ideology.
This exhibition hopes to add his early works to the existing research. The museum hopes convey a complete picture of the painter’s life by borrowing works from public and private collections that are comparable with the painter's works in their origin, and also works that offer a juxtaposition to that of Hsu’s so as to show his importance in Taiwan’s art history. Meanwhile this exhibition focuses on the unique look that Wu-Yung Hsu had created himself after mastering various styles. With his artist’s eye and heart, he created artwork that reflected his outlook on life and art after he explored the world and returned home. Meanwhile, the exhibition features original works and digital projects by AR. It is hoped that the effort to do so will help visitors to understand the beauty of the works.
Advisor Tainan City Government
Organizer Tainan Art Museum
Curator: Yi-Hsuan Kuo
Coordinator: Yueh-O Lee, Tong-Chiao Chuang, Kai-Ching Hsiao
Special Thanks to: The Wu-Yung Hsu Family, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Mr. Shuang-Fu Kuo
- 1.Freedom and Emerging Art
Wu-Yung Hsu was mentored by artist Shiotsuki Tōho, who had come to Taiwan during the period of Japanese rule, while he studied at Taihoku Higher School; it was then that the foundation for his painting skills were laid. From the sketches Hsu made during his undergraduate years in Taiwan, one notices the bright colors and bold strokes–features of Shiotsuki’s style. This theme will first juxtapose the works of Shiotsuki Tōho and Wu-Yung Hsu's early sketches to show the influence of the former.
Later, during Hsu’s days at Tokyo Imperial University period, he came into contact with the collection of Fukushima Shigetarō; meanwhile, Japan was under the influence of the Dokuritsu Fine Arts Society, which emerged in the 1930s, and Hsu's works began to have the Dokuritsu touch as well. For example, A Girl on the Street and A Street on the Hill (Taiwan) are greatly similar to the works that came from this emerging art movement at the time.
2. Tour of the Cities and the Countryside
This theme focuses on the shaping of Hsu’s Cubist style seen in his 1950s artworks, which are divided into three categories according to different periods of his life: “Cities” (his education in the United States),“Countryside” (the early part of his medical career in Taiwan), and “Di-Hua Street Series”.
The works selected for “Cities”, not only show Hsu's study of cubism.On the other hand, the paintings selected for "Countryside” feature more warm colors and depictions of the sun and moon. As for the "DiHua Street Series", the street scenes are depicted in an analytical, cubist style, yet the influence of the Dokuritsu Fine Arts Society in Hsu’s earlier days can still be seen.
3. Silhouettes of Girls and the Pursuit of Beauty
In Firetrees (1942), flowers and girls in profile in the painting’s composition, which would go on to become features of Hsu's paintings in the future. Girls in profile holding flowers or embellished by flowers are used by Japanese Yōga painter Fujishima Takeji (1867-1943) while depicting Japanese women in the 1920s, seen in his works Hōkei (Woman with an Orchid) and Tōyō-buri (In a Manner of the “East”). In Hsu's sketches, one can find his imitations of Hōkei, which could be regarded as the source of the girl in profile found in his works.
許武勇的宗教畫仍為延續第一階段求學時期受到「野獸派」繪畫的啟發，特別是1938年於福島繁太郎家中見到盧奧（Georges Rouault, 1871-1958）作品的影響而創作。同時，本展區亦展出為過去許武勇展覽中尚未展出的主題，即1990年代許武勇對二二八事件以及中國文化大革命的事件的創作，技法上與宗教相關作品相同，亦選用厚實的黑線為人物作輪廓，展現出審慎的態度與莊嚴的精神性。
4. The Suffering and the Exhilaration of Life
Hsu's religious paintings were an extension of the Fauvist influences in his early schooling, namely when he saw and were inspired by the works of Georges Rouault (1871-1958) in Fukushima Shigetarō’s home in 1938. Moreover, this theme depicts a theme that had not been shown in Hsu's past exhibitions, which is the found in the works he completed in the 1990s on the 228 Incident and the events of the Chinese Cultural Revolution. The techniques are the same as those utilized for the religious works, thick black lines to outline the people that show a cautious attitude and a solemn spirituality.
5. The Eye of the Traveler, A Heart for Home
Hsu’s paintings of places around the world mostly feature churches, monasteries, temples, ruins, and ancient cities. With the looming towers and an analytical, Cubist composition, he depicted changes in light and shadow as well as the loftiness of religion. Hsu deliberately depicted different religions and monuments around the world in the background of The Grand Peace Parade of the World (2012), clearly conveying his use of beauty (art) in the pursuit of truth (civilization) and goodness (religion).
In addition to the images of the world, Hsu also portrayed the local landscape of Taiwan; Tainan and Taipei, where he once lived, were depicted often. Finally, Hsu's special role and positioning in the history of Taiwan’s art history will be explained, starting with his series of self-portraits, in which he incorporates his experiences from his school days. In addition, these self-portraits also show his understanding of himself, and of his nostalgia for the countryside and his home. The arrangement of the self-portraits will give the audience an understanding of Hsu 's identity at the start of the exhibition. It is hoped that the ideology behind his creation and his love for his land and people can be explained through the artist's self-reflection.