典藏單位:國立中正紀念堂管理處

館藏編號:PT09794200

郭明福

尺寸:61x79.3x3.7(含框)

郭明福（1950-），嘉義人，臺灣水彩畫家。1977年以師大美術系西畫第一名畢業，1988年取得同校碩士學位，2004年獲美國聖路易芳邦大學(Fontbonne University)美術碩士。郭明福先後任教於復興美工、師大附中美術班等，且為北縣山岳協會、中華水彩畫會成員。作品受高雄市立美術館、中正紀念堂、國父紀念館等單位典藏。
基於對臺灣百岳的鍾情，郭明福因致力於描繪高山自然美景。他曾於畫冊中提及作畫過程：先以攝影、速寫、文字記述記錄不同季節的客觀印象，回到畫室再逐步以嚴謹的構圖、形式安排、取捨等定稿，最後訴諸情意，恣意揮灑。這樣的過程反映出畫家對自然的多層次思考，不僅是「眼見的」自然，而是客觀與心相的融合，呼應於畫家的理想：「天人合一」。基於畫家對風景的獨特思考，觀者在其作品中所見到的，並非印象中蓊鬱茂綠或靄靄雪白的山景，更常見的是一種充滿瀰漫詩意色調的畫面。獨特的顏色構成了畫家的思緒基調，昏晚的黃、迷幻的紫及清新的綠，常滿布於煙嵐飄起的山中。
這件作品以平緩山丘層疊手法描繪逐步推遠的山景，山間的煙嵐更製造出平遠的空間。畫面中河流傍山而行，依次引導出山景的層次，並將左右兩側山丘的關係連接一起。左下中景的平原，與近景的藍色樹林在色彩上形成強烈對比，營造出畫面的視覺重心。（509字）

Guo Ming-Fu (1950-), a watercolor artist from Chiayi, Taiwan, graduated top of his class in Western Painting from the Fine Arts Department at National Taiwan Normal University in 1977. He obtained his master’s degree from the same university in 1988 and earned another master’s degree in fine arts from Fontbonne University in 2004. Guo has taught at Fuxing Art and Design School and the Fine Arts Class at the Affiliated Senior High School of National Taiwan Normal University. He is a member of the Taipei County Mountaineering Association and the Chinese Watercolor Society. His works are collected by institutions such as the Kaohsiung Museum of Fine Arts, the Chiang Kai-shek Memorial Hall, and the Sun Yat-sen Memorial Hall.
Guo’s deep affection for Taiwan's "Hundred Peaks" drives his dedication to depicting the natural beauty of high mountains. In his art books, he describes his creative process: initially recording the objective impressions of different seasons through photography, sketches, and written notes. He then returns to his studio to finalize the composition with meticulous arrangement, selection, and emotional expression. This process reflects his multi-layered contemplation of nature, blending objective observation with personal sentiment, echoing his ideal of "the unity of man and nature." Due to his unique perspective on landscapes, viewers of his work often encounter not the lush greenery or snowy peaks typically associated with mountains, but rather scenes imbued with a poetic atmosphere. His distinctive use of colors—dusk yellows, ethereal purples, and refreshing greens—permeates his misty mountain landscapes.
In this particular piece, Guo employs a technique of overlapping gentle hills to depict a gradually receding mountain view. The mist between the mountains creates a sense of depth. A river winds along the base of the mountains, guiding the viewer's eye through the layers of the landscape and connecting the hills on both sides. The plain in the middle ground on the left contrasts sharply in color with the blue forest in the foreground, establishing the visual focus of the painting.