許武勇（1920-2016），出生於臺南，為臺灣近現代美術史中重要畫家之一。畢業自臺北高等學校（今國立臺灣師範大學），藝術上師事鹽月桃甫。1941年前往東京帝國大學（今東京大學）就讀醫科，並同時向樋口加六學習素描，於此期間入選獨立美術協會展。戰後考取公費留學美國加州大學，除參訪美國博物館研習作品外，亦在美舉辦個人展覽。返臺後於各地行醫外，創作不輟，入選省展與臺陽展20餘年。1987年自醫界退休，成為專業藝術家。

　　　2019年，因應臺南市美術館開館展及藝術家許武勇專室展覽策畫，許武勇家屬捐贈100件作品予本館。2020年，適逢許武勇百歲冥誕，本館將以此批作品為核心舉辦許武勇紀念展，並加上家屬收藏與各公私立單位所收之珍貴作品，向臺灣與世界各地觀眾介紹這位身分多重的臺南畫家，並傳達他的繪畫理想。

　　　本展希冀在前人奠定之研究基礎上，補充早期作品，展出與畫家師承相關之作品，以及能與畫家作品相互對照，得以展現許武勇於臺灣藝術史中重要性之對比作品，試圖傳達畫家生命之完整歷程。同時著重於許武勇在學習各式風格後，融會於自身所創造出的獨特樣貌。以藝術家遊覽世界與歸鄉之際的創作，藉由藝術家的「眼」與「心」，詮釋其人生觀與藝術觀。同時，本展將結合作品與AR科技，讓觀眾能欣賞許武勇藝術之美。

AR 觀看教學步驟：

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 100^th 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.

指導單位：臺南市政府

Advisor   Tainan City Government

主辦單位：臺南市美術館

Organizer Tainan Art Museum

策展人：郭懿萱

Curator: Yi-Hsuan Kuo

策展團隊：李月娥、莊東橋、蕭楷競

Coordinator: Yueh-O Lee, Tong-Chiao Chuang, Kai-Ching Hsiao

特別感謝：許武勇家屬、國立臺灣美術館、高雄市立美術館、郭双富先生

Special Thanks to: The Wu-Yung Hsu Family, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Mr. Shuang-Fu Kuo

1. 1.自由與新興藝術

   許武勇於臺北高等學校就讀時期，受到日治時期來台畫家鹽月桃甫的指導，奠定繪畫基礎。本展區首先藉由鹽月桃甫的作品與許武勇早期的寫生作並列，傳遞出鹽月的影響，說明鹽月先生對許武勇的重要性。

   此後，在東京帝大求學時期，日本藝壇正值30年代興起的獨立美術協會影響，許武勇作品中開始出現獨立美術的影子，如〈少女與街〉、〈丘上之街〉中背景多與此時新興藝術的作品相似之處。

1. 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、城市與鄉村巡禮

  　 本展區集中探討許武勇1950年代作品中「立體派」風格型塑過程，並根據生命歷程將作品主題分為「城市」（美國求學時期）、「農村」（返國從事醫業初期）、「迪化街系列」。

      「城市」選件作品中，除了表現出許武勇對立體派的學習之外，利用城市繁華夜色與招牌等拼揍方式。另外，「農村」中在作品的選色上偏向暖色系，並加入對「日」、「月」描繪。「迪化街系列」中以立體派的分析方式描繪街景外，亦可見到保有前階段獨立美協作品的影響。

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、少女側影與美之追求

  　1942年〈鳳凰木〉，以「側面的少女」與「花朵」相配的姿態成為畫中構圖的一部分，也是往後許武勇畫作的特色之一。側面少女手持花卉，或是將花朵點綴其周圍的作品構圖，在1920年代日本洋畫家藤島武二（1867-1943）描繪東洋女性形象的〈芳蕙〉、〈東洋模樣〉（原文：〈東洋振り〉）中可以見到。在許武勇的速寫稿中，即可以發現對〈芳蕙〉的摹寫，應可視為許武勇作品中側影少女構圖的學習起源。

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.

4、生命受難與昂揚

   　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、旅途之眼、懷鄉之心

   　許武勇創作之世界圖像，主題多集中於教堂、寺院、廟宇、遺跡與古城，藉由高聳的塔摟與分析立體派的分割，表現出宗教的崇高性與視覺的光影變化。而在2012年，許武勇創作的《世界和平大遊行》，明顯地傳達出許武勇使用「美」（藝術）對於世界文化中之「真」（文明）、「善」（宗教）的追求。

       除了世界意象外，許武勇對於臺灣風土亦有描繪，特別是其曾生活過的臺南與臺北風景作品較多。最後，將從畫家自身的各系列自畫像出發，這些自畫像也表現出其對於自身的認知與傳達對故鄉、農村的眷戀。希冀透過畫者自身的返照，說明其創作理念，以及其愛鄉愛人之心情。

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.