展覽史資料庫

After the direction of “New Painting” was established, NMH further changed the submission process when organizing the third edition in 1961. The selection process was divided into two stages: in the primary selection, 1 to 3 artists would be recommended by the Modern Painting Association or art institutions to enter secondary review, or NMH would invite jurors from various Modern Painting Associations. At the secondary review, the museum would enlist experts in the final decision. With the resurgence of painting associations, NMH responded to the needs of modern art painting associations, and in releasing official resources, allowed association members to participate in preparation. Another reform clearly limits the scope of selection to “modern painting” such as oil painting, watercolor and prints, the “woodcuts” requested in the two previous editions were changed to “prints,” and sculpture was eliminated as a category. Some ink paintings were incorporated into watercolor, with its scope more focused on “modern painting.”

In July of 1960, the Embassy telegraphed the Ministry of Education, NMH and other units, suggesting “it is advisable to follow the practice of other countries with a few renowned artists and about 15 – 20 works, the sizes larger to attract attention.” Few, large, and concentrated on individual painters became the basic requirement of the Embassy on the front line of diplomatic and artistic battlegrounds, but the urgency of these needs were not recognized, and though works decreased, individual artists participated with no more than 4 pieces.

Taiwan won honorable mention a third time with Ku Fu-sheng’s work.