對吳耀忠生平較完整的描述與作品介紹的文章不多，學術性的研究更是闕如。然而，面對如此一位值得被重視的戰後寫實畫家，台灣美術史確實曾經一度由於白色恐怖而遺忘了他。若不是吳耀忠如此堅信左派思想，若不是因此付出慘痛的牢獄之災，那麼，依他寫實技巧如此精湛的功力，又有「李梅樹大弟子」的稱讚，再加上六 0 年代「省展」 、 「台陽展」的輝煌戰績，與同時代同輩畫家相比較，當時的成就表現，一點都不遜色，如能「安份守己」，今日必已成為人人口中稱呼的「藝術大師」 。然而，直到 2009 年七月，由國立台灣美術館舉辦「人與歷史的關懷－吳耀忠作品捐贈展」之後，吳耀忠才可以說是真正受到肯定。本文旨在試析吳耀忠的生平、思想與藝術作品，希望在前輩學者研究的基礎上，能有新的資料發現，並提出與以往不同的理解與
看法，期能對吳耀忠的研究有所貢獻.

There are few academic papers on Wu Yiao-Chung available in the bookstores, let alone the narration of his lifetime and his artistic works. Unfortunately, Wu Yiao-Chung, a highly regarded realist painter in the postwar era, was completely neglected by Taiwan’s fine art history when the white terror was prevailing across Taiwan. Had Wu Yiao-Chung not
committed himself to the leftist ideology resolutely and had he not been
sentenced imprisonment, he would have earned his popularity comparable to
all other artists, in light of his next-to-none realist painting skills, his reputation as the Most Outstanding Student Taught By Li Mei-Shu, and his success earned from Taiwan Provincial Fine Arts Exhibition and Tai-Yang Exhibition in the 1960s. Had Wu Yiao-Chung been content with no more than paintings, he would have become a Master Of Art long time ago. Finally, Wu Yiao-Chung’s talents were recognized when the Humanistic Concern For History – Wu Yiao-Chung’s Exhibition For Donation To NTMOFA was held in National Taiwan Museum Of Fine Arts in July 2009. This study attempts to analyze the lifetime, the thoughts, and the artistic works of Wu Yiao-Chung thereby explore new thoughts and present views and standpoints constructively to the research on Wu Yiao-Chung based upon the antecedent researchers’ findings.