Xu Beihong (徐悲鴻, 1895-1953) was primarily known for his Shui-mo Hua
(Chinese ink-and-wash painting) of horses and birds and one of the
first Chinese artists to articulate the need for artistic expressions
that reflected a new modern China at the beginning of the 20th century.
He was also regarded as one of the first to create monumental oil
paintings with epic Chinese themes - a show of his high proficiency in
an essential Western art technique.
Xu began studying classic Chinese works and calligraphy with his
father Xu Dazhang when he was six, and Chinese painting when he was
nine. In 1915, he moved to Shanghai, where he made a living off
commercial and private work. He traveled to Tokyo in 1917 to study arts.
When he returned to China, he began to teach at Peking University's
School of Art at the invitation of Cai Yuanpei (蔡元培). Beginning in 1919,
Xu studied overseas in Paris at the École Nationale Supérieure des
Beaux-Arts, where he studied oil painting and drawing. His travels
around Western Europe allowed him to observe and imitate Western art
techniques. He came back to China in 1927 and, from 1927 to 1929, gained
a number of posts at institutions in China, including teaching at
National Central University (now Nanjing University) in the former
capital city Nanjing.
Xu enjoyed massive support from art collectors across Asia. Between
1939 and 1941, he held solo exhibitions in Singapore, India and Malaysia
(Penang, Kuala Lumpur and Ipoh) to help raise funds for the war relief
effort in China. During an exhibition in March 1939, Xu held a group
exhibition with Chinese painting masters Ren Bonian (任伯年) and Qi Baishi (齊白石), and showcased 171 works of art at the Victoria Memorial Hall.
After the founding of the People's Republic of China in 1949, Xu became
president of the Central Academy of Fine Arts and chairman of the
Chinese Artists' Association. Xu is probably the one most responsible
for the direction taken in the modern Chinese Art world.
Original material is here
Xu began studying classic Chinese works and calligraphy with his
father Xu Dazhang when he was six, and Chinese painting when he was
nine. In 1915, he moved to Shanghai, where he made a living off
commercial and private work. He traveled to Tokyo in 1917 to study arts.
When he returned to China, he began to teach at Peking University's
School of Art at the invitation of Cai Yuanpei (蔡元培). Beginning in 1919,
Xu studied overseas in Paris at the École Nationale Supérieure des
Beaux-Arts, where he studied oil painting and drawing. His travels
around Western Europe allowed him to observe and imitate Western art
techniques. He came back to China in 1927 and, from 1927 to 1929, gained
a number of posts at institutions in China, including teaching at
National Central University (now Nanjing University) in the former
capital city Nanjing.
In 1933, Xu organized an exhibition of modern Chinese painting that
traveled to France, Germany, Belgium, Italy and the Soviet Union.
During World War II, Xu traveled to Southeast Asia, holding exhibitions
in Singapore and India. All the proceeds from these exhibitions went to
Chinese people who were suffering as a result of the war.
Xu enjoyed massive support from art collectors across Asia. Between
1939 and 1941, he held solo exhibitions in Singapore, India and Malaysia
(Penang, Kuala Lumpur and Ipoh) to help raise funds for the war relief
effort in China. During an exhibition in March 1939, Xu held a group
exhibition with Chinese painting masters Ren Bonian (任伯年) and Qi Baishi (齊白石), and showcased 171 works of art at the Victoria Memorial Hall.
After the founding of the People's Republic of China in 1949, Xu became
president of the Central Academy of Fine Arts and chairman of the
Chinese Artists' Association. Xu is probably the one most responsible
for the direction taken in the modern Chinese Art world.
Xu Beihong was a master of both Chinese ink and oil. Most of his works,
however, were in the Chinese traditional style. In his efforts to
create a new form of national art, he combined Chinese brush and ink
techniques with Western perspective and methods of composition. He
integrated firm and bold brush strokes with the precise delineation of
form. As an art teacher, he advocated the subordination of technique to
artistic conception and emphasizes the importance of the artist's
experiences in life.
Xu died of a stroke in 1953. After his death, a Xu Beihong Museum was established at his house in Beijing. Original material is here
