典藏單位:國立中正紀念堂管理處

館藏編號:PT09401300

陳明朝

尺寸:全開 (77×108.5，含框102×133.5)

陳明朝（1950-），宜蘭人，台灣西畫家。畢業於國立藝專，師承於王攀元，受其色彩構思與畫意的啟發。陳明朝曾參加台灣春季沙龍展、國父紀念館當代藝術家博覽會，並於李石樵美術館舉辦個展。陳明朝鍾於風景題材，其作品常為心境的表達，曾自言：「吾筆揮吾情。具象、半具象、意象，總在啟承轉合間。」作品中的磅礡動勢正可說是畫家胸懷情愫的反映。
水景是陳明朝常畫的題材，家鄉太平山的巨木、雲海、綠樹、藍湖等景觀深刻影響其繪畫表現。瀑布、激湍、浪花等，通常為畫面主要的動勢表現所在，並經由顏料的厚塗、多變的筆觸傳達所見所感。厚塗技法在印象派時期開始普遍，畫家以畫筆或畫刀堆疊顏料，製造出富有變化的肌理，有別於古典油畫的平滑細緻。陳明朝作品的另一項特色是畫題，他多以極富詩意的七言文句為畫作註，嘗試融合東西特色，以營造嶄新意境。
相較於陳明朝油畫風景多以半具象的方式描繪，這件水彩作品則展現其紮實的寫實功力。畫家巧妙運用不同色調表現景物的「虛實」關係，「虛」的部分如湖面和天空景色，映照了湖上山石與小舟等「實」的厚重。這種虛實相對也反映在用色上，相較於「虛」多偏寒意的藍色，「實」的部分運用偏暖的棕褐色，並漸次帶入天空與水面中使其互相浸潤。（503字）

Chen Ming-chao, born in Yilan County, is a Taiwanese artist of Western painting. He graduated from National Taiwan University of Arts and studied under Wang Pan-yuan, who inspired his state of mind and uses of color. Cheng Ming-chao participated in Taiwan Contemporary Art Salon in Spring, Dr. Sun Yat-sen Memorial Hall Contemporary Art Fair, and a solo exhibition at Lee Shih-chiao Museum. The artist is fond of landscape themes and focuses on expressions of his state of mind in his works. He once claimed, "I stroke with my emotions. Figurative, semi-figurative, and imagery feelings are in every movement and inspiration." The majestic momentum and tension in Chen Ming-chao's works can be seen as the reflection of his sentiments.
Waterscape is a common subject in Chen Ming-chao's paintings. The giant trees, sea of clouds, green and blue lakes of his hometown, Taiping Mountain, have profoundly influenced his painting styles. Waterfalls, turbulence, and waves painted in impasto techniques and diverging textures are usually the primary dynamic expression in his paintings. Unlike the smooth and blended painting styles in the classical period, impasto techniques bloomed during the Impressionist period. Covering the canvas in thick paints, the artists are able to create a diverse range of rich textures. Cheng Ming-chao is also renowned for the titles of his works. He often annotates the painting with seven-word phrases rich and full in poetic flavor, blending occidental and oriental styles to innovate new atmosphere and meanings.
Differed from his figurative styles in most of Chen Ming-chao's oil paintings, this work exhibits vital elements of Realism and his techniques. The artist uses varying tonality to portray the contrast between "reality" and "illusion." The "illusionary" parts of the lake and sky emphasized the heaviness of "reality" in the rocks and boats. The use of color also reflects a similar concept. While blue implies the sense of coldness usually appears in the "illusionary" parts of the painting, warm brown colors occur in the "realistic" part. The blending of colors also merges the sky and water in the landscape.