日治時期臺灣西洋畫家的收支與美術市場研究

本論文以台灣第一代西洋畫家為研究對象，探討他們在日治時期學習繪畫到成為畫家之過程中的支出與收入，以及整體社會中西洋美術市場的形成。本文嘗試運用報章雜誌、檔案文書、日記資料、私人信件、畫家回憶錄等資料，針對台灣西洋畫家在求學時與工作後等經濟生活層面的收支情形，重構日治時期西洋畫學習、畫材購買、畫作販售、作品訂價等狀況。本文希望能探究日治時期的西洋畫家收支情形，與增進對當時美術市場的了解。經由本論文的研究，可得知1920年代，台灣有志學習西洋畫的青年，由於台灣美術資源缺乏，他們必須透過函授教材，或赴東京留學來學習。材料費、留學學費與生活費，均造成不小的經濟負擔。 1930年代後的台灣西洋畫家，獲取收入的方式僅有在展覽會販售作品、接受贊助委託與從事正職工作這三種管道。展覽會作品販售狀況以個人展覽會販售情形較佳。官方展覽會的販售狀況，取決於價格與社會經濟環境影響。在作品贊助委託方面，贊助者則多在有紀念性的事件上邀請畫家繪畫。因畫作購買者僅限於少數的中上階層，使得畫家來自販售作品的收入十分不穩定。他們必須有一份穩定的正職工作，才能支撐起家庭支出與自身畫業。本論文認為，日治時期，因為近代化城市的興建，與新式教育的推行，西洋畫的受眾逐漸形成。由於此時畫家販售畫作的主要途徑為展覽會，畫家會根據不同的展覽會銷售場合而採取不同的畫作訂價，吸引觀眾的目光，來增加販售繪畫的機會。他們透過入選官方展覽會來取得名氣，藉此宣傳並表現自己的繪畫技巧，而後舉辦個人展覽會，吸引買家向他們訂購畫作。因此，他們必須在創作中迎合官展品味，也必須表現出個人特色，更要符合市場需求。

關鍵字

日治時期；台灣西洋畫家；贊助；美術市場；畫作訂價

並列摘要

This paper discusses the expenditure and income of the first generation of Taiwanese western-style painters from learning painting to becoming painters during the Japanese rule, as well as the formation of the Western painting art market in the overall society. This paper attempts to use newspapers, magazines, archives, diaries, private letters, painters' memoirs and other materials to reconstruct western painting learning, painting material purchase, painting sales, works pricing and other conditions of economic life of Taiwanese western-style painters during the Japanese colonial period. This paper hopes to explore the income and expenditure of Taiwanese western-style painters during the Japanese rule and improve the understanding of the art market at that time. Through the research of this thesis, we can know that in the 1920s, the young people in Taiwan who wanted to learn western painting had to learn through correspondence teaching materials or study abroad in Tokyo due to the lack of art resources in Taiwan. The cost of materials, tuition fees and living expenses have caused a considerable economic burden. After the 1930s, Taiwanese western-style painters had only three ways of earning income: selling works at exhibitions, accepting art commissions, and engaging in full-time jobs. The sales of exhibition works are better in personal exhibitions than in official exhibitions. The sales status of official exhibitions depends on the price and the impact of the social and economic environment. In terms of work art commissions, patrons often invite painters to paint on commemorative events. Because the buyers of paintings are limited to a small number of middle and upper classes, the artist's income from selling works is unstable. They must have a stable full-time job in order to support their family expenses and their own painting business. This thesis believes that during the period of Japanese rule, due to the construction of modern cities and promotion of modern education, the audience of western paintings gradually formed. Because the main way for artists to sell paintings at this time is exhibitions, and painters will adopt different prices according to different exhibition sales occasions to attract the attention of the audience and increase the chance of selling paintings. They gained fame by being included in official exhibitions to promote and showcase their painting skills, and then held solo exhibitions to attract buyers to order their paintings. Therefore, their creations must not only cater to the taste of official exhibits, but also show their personal characteristics, which is more in line with market demand.