典藏單位:國立中正紀念堂管理處

館藏編號:PT09785600

吳冠德

尺寸:129x64x3.1(含框)

吳冠德(1979- )，台北人。國立高雄師範大學美術學系學士、國立臺灣師範大學美術研究所西畫創作組碩士；任中華亞太水彩藝術協會秘書長、中華亞太水彩藝術協會理事、臺灣國際水彩畫協會會員。他善於描繪大氣層的透視感以及用灰色為基調貫穿全畫，再以瀟灑的筆觸、虛實相間的技法呈現複雜的枝葉。其作品的細膩氛圍，可讀到英國浪漫主義大師泰納（J.M.W Turner）水彩或由畫中的重疊技法的情趣，亦可令人感受到大自然對人生哲理的無聲傾訴。
本幅作品描繪作者的大伯父，也是畫家的吳耀忠先生，在白色恐怖時期時因為與作家陳映真等人組讀書會，閱讀社會主義的書籍，於三十歲時被判以叛亂罪入獄服刑八年。雖然在出獄後再度提筆作畫，但始終在抑鬱中無法自拔，在四十九歲時便因肝硬化而去世。大伯父留下了一個大畫架，上頭還有一張始終來不及完成的蒼白畫布。
作者以灰色調以及斑駁光影對比的方式，有如開啟房門後強烈的光線照射在封塵已久的畫架上，將歷史所帶給人的滄桑感以及苦悶表現出來，流露出對於長輩的不捨與萬般的無奈。黑白的畫架、前方無人乘坐的木凳以及白色畫布上青年男子的慘白剪影，彷彿離去已久的故人照相，訴說著雖年代已遠成了往事，但傷痕猶然歷歷在目的感懷，是作者對於歷史無情慨然的沉痛之作。(508字)

Wu Guan-De (1979-), born in Taipei, holds a Bachelor’s degree from the Fine Arts Department at National Kaohsiung Normal University and a Master’s degree in Western Painting from the Graduate Institute of Fine Arts at National Taiwan Normal University. He serves as the Secretary-General and a director of the Chinese Asia-Pacific Watercolor Art Association and is a member of the Taiwan International Watercolor Society. Wu excels in depicting atmospheric perspective and uses gray tones as the foundational theme throughout his paintings. His works are characterized by fluid brushstrokes and a blend of realistic and abstract techniques to portray intricate foliage. The delicate atmosphere of his pieces evokes the watercolor techniques of British Romantic master J.M.W. Turner, and his overlapping methods capture the essence of nature’s silent philosophical musings on life.
This particular piece depicts Wu's great-uncle, Mr. Wu Yao-Chung, who was a painter. During the White Terror period, Wu Yao-Zhong was sentenced to eight years in prison for treason at the age of thirty, due to his involvement in a reading group with writer Chen Ying-Chen, where they read socialist literature. Despite picking up painting again after his release, he remained deeply depressed and succumbed to cirrhosis at the age of forty-nine. His great-uncle left behind a large easel with an unfinished pale canvas.
Wu uses gray tones and contrasting mottled light and shadow to convey the poignant sense of history and personal anguish, as if a door has been opened to reveal harsh light illuminating a long-dusty easel. This technique reflects the sense of sorrow and helplessness regarding his ancestor. The black-and-white easel, the empty wooden stool in front, and the pale silhouette of a young man on the white canvas resemble an old photograph of a long-departed relative, conveying a poignant reflection on the indelible scars of history. This work stands as a solemn expression of the author's deep pain and sorrow for the unrelenting passage of time and the lasting impact of historical wounds.