Solo Exhibitions in History
林彥甫油畫創作展
林彥甫的寫生創作，以柔和的色調為基礎，創造出一種有別於臺灣畫家的風格。畫家色彩的運用方式，間接地受到保羅·塞尚對印象派批評的啟發；塞尚認為印象派快速寫生的方式，雖然體現了真實與自然的描摹，但是也形成顏色鮮明、對比強烈的風格，如此燦爛而紛亂使得畫面缺乏一種美妙的平衡與整體的和諧，塞尚更推崇的是如普桑所造就的一種堅實與永恆的美。彥甫在這樣的藝術理念之下，試圖達到畫面與色彩的協調。
畫家的灰色調除了讓整體更趨一致之外，也由此讓畫面融入更多的抒情性，展現山林間的清新與畫家投注的感受，這樣的風格與巴比松畫家卡密爾·柯洛有異曲同工之效；柯洛雖然大量在戶外寫生，但他不像印象派畫家喜歡顏色帶來的強烈刺激感，而更專注於營造明暗的廣度與作品的意境。柯洛回到較傳統的用色方式，透過細心的整體佈局與安排，在接近單色調的明暗變化之中，表現更多的情境與詩意。彥甫則以現代色彩觀念形塑畫面的柔和灰色調，在臺灣的風景中帶入東方的抒情意境。
Lin Yenfu Art Exhibition
Oct. 14th to Nov. 1st, 2020 嘉義文化局
Cultural Affairs Bureau of Chiayi City
The harmonious tones in Yenfu’s landscape painting form a unique style that sets him apart from other Taiwanese painters. His artistic approach is indirectly inspired by Paul Cézanne’s critique of Impressionism.
Cézanne thought that even though the impressionist technique of spontaneous painting captured the essence of reality and nature, its penchant for vivid and contrasting colors nevertheless contributed to the lack of balance and overall harmony. Cézanne instead preferred the enduring aesthetics of Poussin. Taking Cézanne’s critique to heart, Yenfu aims for a harmony in structure and color.
Yenfu uses a gray tone to achieve a unifying effect as well as make his paintings more expressive, so as to give form to the perception he projects onto refreshing forested mountain sceneries. As a result, his style bears some similarity to the Barbizon Artist, Camille Corot. Although Corot anticipates the plein-air movement, he avoids intense visual stimuli caused by the use of vivid colors that would be extensively applied by impressionists later. Corot simply focuses on the breadth of tones and the atmosphere in the images. Through a near monochromatic tonality, Corot resorts to more traditional coloring methods and adopts a more holistic approach to set the lyrical mood of his paintings. On the other hand, Yenfu mainly adopts a modern understanding of color to portray the soft gray themes of his paintings, channeling Oriental imagery through his depictions of Taiwan.
Serenely Seeing the Southern Mountains
March 28 to April 17, 2017 新店圖書館 New Taipei Public Library Xindian Br.
悠然見南山－ 林彥甫油畫個展
本次展出一系列田園相關的風景油畫。田野不僅只是呈現出農村的樣貌，更在中國人文傳統中有著重要的象徵意涵；田園意象的濫觴源自陶淵明，淵明辭官歸隱，躬耕園田之中，但這並非職業的選擇，而是生命價值的取捨，離開混沌的官場，重拾真純的道德價值。田野遠離了世俗、宦途的氛圍，但也並非如山林純然的孤立，而是一個需要勞動躬耕的人境生活，淵明透過詩文建立起人與人、人與自然更加動人的連結，而這樣崇高的精神與深刻的情感，讓後世的王維、稼軒等詩人不斷追隨，形塑出田園在中國人文的獨特意象。
歸返自然的墨客，放下汲汲營營的功名，依繫著便是老莊的思想；在田 野之中，放下過度強烈的自我與世俗的追求，回到樸實的真我。道家務於致虛守靜，屏除內心的慾望與雜念，返歸單純淳樸，在寬廣遼遠的園田山景之中，體會天人的冥合，而如此的老莊也就在儒家之外，深遠地影響著中華文化。
中華文化承襲的文學傳統及哲理思想，影響著我們看待事物的角度；透過更豐富的固有意象與思想，或能觸動我們對自然景物更深刻的感動，也或許能在這片台灣的田地中，找到更多的感受。
Farmland scenery, the topic of this exhibition, has a great significance in Chinese literary traditions instead of a simple depiction of the country neighborhoods or manor estates. To begin with, this tradition derives from the Chinese poet, Tao Yuanming, who dropped out of the government and started up a farming life in his early career. However, it was not the matter of picking proper jobs, but the consideration of reserving the fundamental moral integrity so he determined to retreat to a simple, but valuable life. Thereafter, Tao Yuanming, departing from the major society, but not totally secluded, established great relationships with nature and locals through his poems. The lofty spirit and the earnest sentiments in his lively poems made Wang Wei, Xin Qiji and many more other poets follow in his footsteps. Thus, Farmland retreat became a great image in Chinese culture.
The ideal of returning to simplicity and reality was the major concern by those elites who immerse themselves in the pastoral scene after they withdraw from the government. To fulfill the utmost pattern of behavior, they tried to abandon all the self-importance and self-interest; and all the secular pursuits and fame. In addition, with following the Taology, which emphasizes on remaining inner mind in silence and clarity, they sought for the harmony between human and the universe while immersing in nature. As a result, the philosophy of Tao plays an important role in Chinese culture and provides a different way of viewing the scenery.
Now that Chinese literature and Chinese philosophy have provided us abundant images and thoughts, our sentiments can go even further on what we perceive. That is to say, with the various representations and philosophical thoughts, country landscape can touch us profoundly in a very different way. All in all, I wish my works, the paintings of Taiwan’s farmland scenery can bring you a lot more feelings.
From Spring to Summer
三春九夏－林彥甫油畫個展
May 20- Aug 20, 2015 國立臺灣大學 森林系館 Forestry Department, National Taiwan University
本次畫展精選林彥甫五年來不同時期的風景畫作，在多樣的題材之中，仍可以看見畫作之間風格的轉變與精進，而這些風景不僅只是對具象景物的描繪，更重要的是透過繪畫所傳達的情感與美感經驗，正如六朝畫家宗炳所說:「山水質而有趣靈。」山水不僅只是外在的物質世界，而更要能夠引起面對實景時的情緒或更深的意義。
This exhibition shows a careful selection of different stages of landscapes of artist from last five years. Those paintings present artist’s diverse painting subjects and reveal his steady changing style and maturing skill. Besides, these landscapes do not merely depict the representational form, but emotion and aesthetic experience that lie in the paintings. As the Six Dynasties’ Chinese painter, Zong Bing stated “Landscape, while possess a physical form, tends to the spiritual.” We hope you enjoy the paintings and experience a lot more on the side of the spiritual.
To Reflect, to Form - Lin Yen Fu solo Debut
鏡‧影－林彥甫油畫個展
Feb 3- Mar 8, 2015 基隆市文化中心-第二陳列室 Keelung Cultural Center
肖像畫在西方藝術中有著悠久的發展，人們不僅試圖記錄下輪廓與外型，更要讓人物的個性與情感躍然於畫布之上；有時彷彿可以感受到那人的所思、所想，令人想要了解他的寂寞與憂愁；或是亦憂亦喜，參雜著各種不同的面相，塑造出似若真實的人物。透過藝術家的眼睛，繪畫呈現出對人文的關懷，而其中多樣的面貌，亦是畫家自我的投影。 此次展出以人物相關的畫作為主，希望能如同一簾明鏡，照出不同的形象，而那不僅是外在的輪廓，更是深潛的情感與意涵，願和大家分享相關的成果與心得。
Portrait painting, a long established genre of painting in western art, intending not to depict the visual appearance of the subject, but to reveal the inner essence and lively emotion; it makes us experience those tempests in mind; it leaves us to sympathize with the loneliness and sorrow; the diverse figures, with all the happiness and sadness, are really brought to life. Through the eyes of the artist, the painting itself reflects the concern for humanity. And it also represents the inner mind of the artist himself, whose mind unconsciously mirrors on the paintings. This exhibition focuses mainly on the portrait paintings. We hope these works mirror a great many kinds of figure, which shows not only the contour, but deeper emotion and spirit.
水光山影－林彥甫油畫個展
The Mountains and Rivers
Jun 10- Jul 10, 2011 國立臺灣大學
此次展出的作品以風景為主，希望能透過畫筆，把臺灣的山水之美重現在各位的眼前。而又如同俄國大師所說：｢如果作品裡的山川、樹木、流水是美的，並非其本質如此，而是因為我在這裡注入了思想與感情。｣