Hailed as one of the “Four Great Painters of the Shanghai School in the Late Qing Dynasty,” Wu was a renowned Chinese painter, calligrapher, and seal carver. An expert at large freehand paintings of flowers and plants, he integrated the brush movements, engraving techniques, and art of composition of both calligraphy and seal carving into his paintings, creating a unique style rich with elements of bronze and stone epigraphy. His brushstrokes, which are marked by an experienced and unrestrained vigor, forcefully penetrate the paper, creating works that are free and unbridled, powerful and imposing, as well as new and original in their arrangements.

Wu occupies an extremely important position in the history of Chinese painting and is regarded as the preeminent flower-and-bird painter of the late Qing Dynasty.
In December 2010, one of Wu Changshuo’s paintings was auctioned for RMB$36,960,000 (approximately US$5,590,010). The Duo Shou Tu (Longevity- Peaches) painting exhibited in this museum belongs to Wu’s series of longevity-peach paintings, which he prolifically created. His application of color and brushstroke is natural and vivacious, and effectively conveys a spirit of charm and grace. The other exhibited work of art by Wu Changshuo is a couplet written on a pair of scrolls in the calligraphic style of inscriptions on ancient bronze objects. One scroll is on the left side of the Longevity-Peaches painting, and the other scroll is on the right side. This is a marvelous calligraphic work of the highest level. When it comes to calligraphy in the style of inscriptions on ancient bronze objects, Wu Changshuo can rightly be called the preeminent calligrapher in all of Chinese history.

Professor Guo Ruyu was born in China in December of 1941. He is a member of the Artists Association of China. His positions include Director of the Creation and Research Department of the Sichuan Province Poetry, Calligraphy and Painting Institute; President of the Chengdu City Fine Brushwork Painting Association; Dean of Chengdu Fine Brushwork Painting Academy; and Dean of Sichuan Province Oriental Painting Art Academy.

Paintings of hibiscus and carp are representative of his works. They are also what established his reputation. Such paintings have been collected and exhibited by many important organizations in China, including an exhibition in the Great Hall of the People in China.

Guo Ruyu meticulously created this painting specifically for this museum. Without even the slightest trace of water seen on or near the fish, a sense of fish swimming and moving about in water is depicted. This special characteristic of Oriental art whereby the artist conveys a concept, such as water, without painting it, is fully manifested in this painting. The extremely simple brushwork that was used to paint the carp portrays their very rich texture. With careful observation, viewers can experience the boundless appeal of this artwork. This painting is truly representative of the art of Chinese painting.

A famous master of Chinese paintings and a representative artist of the “new landscape painting” movement, Fu was also a professor in the Art Department of Nanjing Teachers College and served as President of the Jiangsu Provincial Chinese Painting Institute. An advocate of artistic innovation, Fu incorporated elements of Japanese painting to launch an artistic transformation that resulted in his own singular “Baoshi Cun” style of painting. And, in an act that revolutionized the style of figure painting established during and practiced since the Qing Dynasty, Fu incorporated techniques used in landscape paintings into his figure paintings, which showcased his unique spirit.

In November 2011, Fu’s Octavo Volumes were sold at an auction for an impressive RMB $230,000,000 (approximately US$36,065,200). This piece by Fu is entitled Tiao Yue Tu (Three Musicians). Its colors display an ancient elegance, and its brushstrokes reveal a bold vigor, making for a truly exquisite work.

A renowned Chinese contemporary painter and art educator, Xu Beihong often chose horses, lions, cows, cats, eagles, and geese as his subjects. Employing an ordinary style, his representations of forms were accurate and lifelike.

He served as a professor in the Art Department of National Central University as well as the President of the Art Academy at Beijing University. Xu Beihong’s works occupy an important position in contemporary Chinese art. His greatest accomplishment in oil painting was his fusion of the Impressionistic use of light and color with the strict, classical adherence to a perfect representation of structure and shape. Xu masterfully combined ancient and modern techniques as well as Chinese and non-Chinese techniques. He is also revered for his exceptional contributions to the development of the Chinese art industry, and in particular, his eye for talent.

In December 2011, Xu Beihong’s Cultivation on the Peaceful Land was auctioned for RMB$266,800,000 (approximately US$41,918,700). This work called Shuang E Tu (A Pair of Geese) is one of Xu’s geese paintings, a subject he was most skilled at depicting.

A celebrated master of contemporary Chinese painting and an art educator, Pan also served as President of the Zhejiang Academy of Fine Arts as well as Vice-Chairman of the Chinese Artists Association.

Highly skilled in freehand style flower-and-bird and landscape paintings, his compositions evoke both a feeling of danger as well as an overcoming of danger. His brushwork has an air of bronze and stone epigraphy—simple and forceful, as well as strong and sweeping; and his use of color is both calming and gorgeous.

Prudent with the brush, each of his strokes is a manifestation of artistry steady and without affectation. He was also highly accomplished in figure painting, calligraphy, poetry, and seal carving.

Lei Po Tou Feng Shou Zhe (Leipotou Longevity Peak) is a frequent inscription on Pan’s paintings, in which the inscription location, the inscription calligraphy, and the painting are unified into a perfect whole, attaining an unprecedented level of excellence.

This painting of lotus flowers and stones called A Pond’s Gorgeous Red that Emerged from Mud is considered one of the finest among the fine. In May 2010, Pan’s Eagle on a Rock was auctioned for RMB$28,000,000 (approximately US$4,098,660).

Huang Binhong was a Chinese literati painter and art historian born in Jinhua, Zhejiang province. He is considered one of the last innovators in the literati style of painting and is noted for his freehand landscapes.

His early painting style showed the influence of Li Liufang, Cheng Sui, Cheng Zhengkui, Kun Can, Hong Ren and the masters of the Yuan and Ming periods. It emphasized on the importance of the unification of positive and negative space, and the dark and light shades. Each brush line is powerful and precise. The compact touches, the graceful outlines and the elegant styles of Xin’an School of painting had a profound influence on Huang throughout his life. His style before the age of sixty is called the White-period.

After sixty, Huang went to Guichi. The scenery of Guichi not only attracted the artist, but also had a great impact on his style. Huang changed from focusing on brush and line to focusing on ink wash. He started to practice the painting style of Wu Zhen. In 1928, Huang visited Guangxi and Guangdong and created a lot of works by sketching the real landscapes. Huang started to transit from his “White style” to “Black style”.

At the age of 69 or 70, Huang visited Sichuan. He was inspired by the atmosphere of Mount Qingcheng in rain and the Qutang Gorge under moonlight. He utilized dripping, staining and layers of dense ink to illustrate the misty wet feeling of rain and the nightly view of mountains. Since then, his “black, dense, thick, heavy” style became his significant feature.

From 1937 to 1948, Huang lived in Beijing for eleven years and most of his Black period paintings were done during that time. After that, he moved to Hangzhou and started another new horizon in his art. Inspired by Western Impressionism, he integrated the two major Chinese painting systems (Ink-wash painting and color painting) into unity. Dots of red, green and blue pigment merged with layers of dense ink, creating a luxuriant and richly integrated style in which he deftly manipulated solid and void.

Zhang Daqian is one of the most renowned Chinese painters of the 20th century. His painting style is fine brushwork, freehand brushwork, strong colors, and ink-wash painting. He initiated the splashed-ink and splashed-color style of painting. He is famous for his splashed-color landscape paintings. There are two separate styles of landscape painting in China: “blue-and-green” landscapes and “ink-and-wash” landscapes. The former style uses bright blue, green and red pigments derived from minerals, while the latter relies on vivid brushwork and varying degrees of intensity of ink to express the artist’s conception of nature, his/her emotions and individuality. During his life, Zhang Daqian made connections with other artists, such as Picasso, while living in France.  Some of his works were bought by museums in the United States, such as the Museum of Fine Arts, Boston.