德國藝術家傑賀．李西特（Gerhard Richter）在現、當代的藝術發展中，無疑是具有舉足輕重的影響力。自1960年起，李西特即透過不同媒材的試驗，展現豐沛、多元的藝術表現，在歐洲風起雲湧的前衛藝術運動中，顯得獨樹一幟。然而在橫跨半個世紀的創作歷程中，李西特最令人富饒興味的莫過於他在繪畫的探索與挹注，其多向度的創作面向與表現，每每造成藝術評論者的激辯與迥然不同的詮釋方式。基此，本文欲透過李西特的作品，試以其風景畫作為變異切片，檢視他對藝術術語的運用、轉移及省思，並企圖從中觀照出傳統繪畫如何成為新的藝術命題。再者，文中就李西特的創作手法「照相—繪畫」（photo-painting），剖析攝影影像與繪畫動作之間的關係，其如何造成某種迴圈式的雙重否定，繼而探究「風景畫」的質變與越界身分，亦即本文欲 提出的「非典型」（atypical）徵候的藝術觀點。
傑賀．李西特、照相－繪畫、風景畫、非典型
Undoubtedly, German artist Gerhard Richter's significance and influence in the development of modern and contemporary art is well known. Since the 1960s, his rich and varied art works, application of various media, and execution of provocative experiments won him unique status in the Avant-guard movement within the art world. During the half century in which he devoted himself to art making, Richter remained passionate about painting while experimenting with a wide range of art techniques and genre. This zeal has been perhaps the most interesting aspect of his career. Richter's diverse techniques, shifting subject matters, and prolific production have resulted in unending arguments amongst art critics over the interpretation of his work in different contexts. Considering these differing viewpoints, this essay provides a survey of Richter's works, particularly his landscape paintings. I will point out how his paintings shifted into "atypical" practice by revealing the ever-changing process and transitory nature of landscape paintings from the past to the present. Additionally, I will analyze Richter's "photo-painting" and argue that this "in-between" application of photographic images and paintings creates a dual negation or what I term "atypical" pattern.
Gerhard Richter, photo-painting, landscape painting, atypical
