典藏單位:國立中正紀念堂管理處

館藏編號:PT09783600

郭軔

尺寸:92x80x3.5(含框)

郭軔（1928-2023），字之昊，生於河南武安。1949年國民政府遷臺前，就讀北平藝專與杭州藝專期間，受楊綠楊、徐悲鴻、艾中信、吳作人等指導。1958年留學西班牙，並榮獲皇家藝術學院院士殊榮。1962年回國後，任教於國立臺灣師範大學，歷任全國美展審查委員。曾於西班牙國家畫廊舉辦個展，參與巴西聖保羅國際雙年展，並於歷史博物館、中央美院等地展出。
受啟蒙老師楊綠楊影響，郭軔認為詩、書、畫三者密不可分，因此他除了專精西畫以外，也致力於水墨與書法創作，並提出「藝術要創新，但必須成熟」的觀念。其作品風格大致可分為三個時期：(一)透視與抽象兼具的「馬德里時期」（1958-1962），(二)轉化西方風格融入東方元素的「臺北時期」（1963-1989），與(三)運用現代意識融合水彩、油畫、水墨等不同媒材的「紐約時期」（1990-1994）。
此作品完成於紐約時期，目的在於「以抽象表現充滿歡樂鼓動的人心」。畫面以大筆觸塗繪並局部刮除表層顏料，主色調為綠色與黃綠色，左下方的檸檬黃予人以一種活躍的感受，中間的深色中與周圍的亮色形成強烈對比，而深色中的鈷藍使畫面不致過於暗沉。畫面左方，可見類似人形高舉雙臂的深色筆觸，右方亦有一巨大人形，中間厚塗的橫向及斜向筆觸形成畫面動勢，整幅作品充分表達鮮明暢快之感。（506字）

Guo Ren (1928-2023), also known by his courtesy name Zhi-Hao, was born in Wu'an, Henan. Before the Republic of China government relocated to Taiwan in 1949, he studied at the Beiping Art Academy and the Hangzhou Art Academy under the guidance of Yang Lüyang, Xu Beihong, Ai Zhongxin, and Wu Zuoren. In 1958, he went to study in Spain, where he was honored as a Fellow of the Royal Academy of Arts. After returning to Taiwan in 1962, he taught at National Taiwan Normal University and served as a juror for the National Art Exhibition. He held solo exhibitions at the Spanish National Gallery, participated in the São Paulo International Biennial in Brazil, and exhibited at venues such as the National Museum of History and the Central Academy of Fine Arts.
Influenced by his mentor Yang Lüyang, Guo believed that poetry, calligraphy, and painting are inseparably linked. Thus, in addition to mastering Western painting, he also dedicated himself to ink and calligraphy, advocating the idea that "art must innovate but also mature." His artistic style can be divided into three periods: (1) the "Madrid Period" (1958-1962), characterized by a blend of perspective and abstraction, (2) the "Taipei Period" (1963-1989), where he integrated Western styles with Eastern elements, and (3) the "New York Period" (1990-1994), where he combined modern consciousness with various media, including watercolor, oil painting, and ink.
This particular work, completed during the New York Period, aims to "express the joyful and vibrant human spirit through abstraction." The composition features broad brushstrokes with some areas of the surface paint scraped away. The primary color scheme is green and yellow-green, with a lively lemon yellow in the lower left corner. The contrast between the dark center and the surrounding bright colors is striking, and the cobalt blue within the dark area prevents it from becoming too somber. On the left side of the canvas, dark brushstrokes resemble a human figure with raised arms, while a large human figure is also present on the right. The thick horizontal and diagonal strokes in the middle create a sense of movement, fully conveying a clear and refreshing feeling.