Xu Beihong

Early life

Xu Beihong was born in 1895 in the town of Yixing, Jiangsu province, in what is now the People’s Republic of China. His family was modest, and he showed an early talent for drawing. As a teenager he moved to Shanghai to pursue formal training, first at the Shanghai School of Fine Arts and later at the Shanghai Art School. These early experiences exposed him to both traditional Chinese brush work and the emerging influence of Western art that was arriving via missionaries and foreign schools.

In the 1910s, Xu travelled to France to study at the École des Beaux‑Arts in Paris, where he deepened his knowledge of oil painting, anatomy, and academic realism. The rigorous French curriculum, combined with his Chinese heritage, shaped a distinctive artistic vision that would later define his career.

Career and style

After returning to China in the early 1920s, Xu took a teaching post at the National Academy of Fine Arts in Beijing (now the Central Academy of Fine Arts). He quickly became a leading advocate for the synthesis of Western realistic techniques with Chinese subjects. His style is characterised by a precise, almost photographic rendering of form, particularly in his depictions of horses, which he regarded as a symbol of national spirit and vitality.

Xu’s work reflects a commitment to realism, but he never abandoned the expressive qualities of traditional Chinese ink painting. He employed a controlled brushstroke and a muted palette in many of his ink works, while his oil paintings reveal a mastery of chiaroscuro and anatomical accuracy. This duality allowed him to bridge cultural divides and to mentor a generation of artists who would continue to explore the possibilities of a hybrid visual language.

Signature techniques

1. Anatomical precision – Xu spent countless hours studying animal and human anatomy, often sketching live models in the studio. This practice gave his figures a lifelike solidity that was rare in Chinese art of the period.

2. Dynamic composition – Whether in ink or oil, Xu arranged his subjects to convey movement and narrative tension. His compositions often place the main figure against a stark background, emphasizing gesture and posture.

3. Ink‑wash realism – In his ink works, Xu combined the fluidity of traditional brushwork with meticulous shading, creating depth and volume without abandoning the medium’s inherent spontaneity.

4. Use of colour for symbolic effect – While his palette is generally restrained, Xu employed colour strategically to highlight emotional or political meaning, such as the red banner in "Put Down Your Whip".

Major works

- Put Down Your Whip (1939) – Created during the Second Sino‑Japanese War, this powerful oil painting depicts a street performer using a whip as a metaphor for resistance. The work became an iconic image of Chinese patriotism and was reproduced widely in wartime propaganda.

- Sketch of a Man from the Front and the Side (1924) – This double‑view study showcases Xu’s dedication to anatomical accuracy. By presenting the same figure from two angles, he demonstrates his commitment to a three‑dimensional understanding of the human form, a technique he later taught to his students.

- Portrait of Sun Duoci (1930) – A portrait of the celebrated Chinese actress Sun Duoci, this oil painting captures both likeness and personality. Xu’s delicate handling of light on the face, together with subtle background details, conveys the subject’s cultural prominence.

- The Buffalo Demon and the Snake Spirit (1943) – This work merges mythological subject matter with realistic rendering. The powerful buffalo and sinuous snake are depicted with anatomical exactness, while the composition evokes traditional Chinese storytelling.

Each of these pieces reflects Xu’s ability to fuse Western technique with Chinese content, reinforcing his role as a cultural bridge.

Influence and legacy

Xu Beihong’s influence extends far beyond his own canvases. As a professor and later the head of the National Academy of Fine Arts, he shaped curricula that emphasized realism, life‑drawing, and the study of Western masters. Many of his students, including prominent artists such as Li Keran and Yan Zhenqing, carried forward his ideals, helping to modernise Chinese art education.

His advocacy for a national art that could speak to both domestic and international audiences contributed to the formation of a modern Chinese artistic identity. By the time of his death in Beijing in 1953, Xu had secured a place in the canon of 20th‑century Chinese art, and his works are now held in major museums worldwide, including the National Museum of China and the Shanghai Museum.

In contemporary scholarship, Xu is recognised not only for his technical skill but also for his role in cultural diplomacy. His paintings were exhibited abroad, fostering cross‑cultural dialogue during a period of intense political change. The continued study of his techniques and the preservation of his teaching legacy affirm his status as a pivotal figure in the evolution of modern Chinese art.