1895年日本殖民臺灣，此階段正是臺灣邁入現代化的萌生期，其中西式新美術的引進，帶動畫會、畫展的成立，奠基滋長，是重要的里程碑，亦是學者們研究論點。然則有感於此階段的美術研究，多以北部為觀點，南部發展亦不多見或有忽略；本文以「高雄州」為研究軸線，探究1928年成立「白日會」及後續「南方畫壇」發展，對高雄西洋畫之影響，並分析在地畫家之風格面向；內文架構以時代為脈絡：（一）1928～1930年「白日會」的開展：一群為美術與教育的奉獻者；（二）1931～1937年「白日會」的交流：新生代的加入；（三）1938～1943年從「白日會」到「南方畫壇」：因應戰爭與時局的變化；（四）從台、府展看高雄州的洋畫發展及風格。以此歸納結論，建構出日治時代的高雄洋畫史。

Japan colonized Taiwan in 1895, setting the stage for Taiwan’s modernization. During this period, modern Western arts were introduced, spurring the formation of painting associations and exhibitions. This development was an important milestone, as well as the focus for much academic research. Most of the research about this period has been conducted with northern-centric perspectives, which ignore the art scene’s development in the south during that time. With “Kaohsiung State” as the research background, this paper analyses the “Hakujitsukai,” which was founded in 1928 and later became the “Southern Painting Exhibition,” and its influences on Kaohsiung’s Western-styled paintings by examining the styles of artists from the region. The framework of the paper uses the following eras as the context: (1) 1928-1930 The launching of “Hakujitsukai”: a group committed to art and education; (2) 1931-1937 The exchange of “Hakujitsukai”: the addition of the new generation; (3) 1938-1943 from “Hakujitsukai” to “Southern Painting Exhibition”: In response to changes in the war effort and the political situation; (4) From Taiwan Fine Art Exhibition and Taiwan Viceroy Art Exhibition, one can see Kaoshiung State’s development and style of Western-style painting. This summarized conclusion comprises the history of Western-style painting in Kaoshiung during the Japanese colonial-era.