Xu Beihong (1895-1953) was born in Qitingqiao, Yixing, Jiangsu. The founder of modern Chinese art, an outstanding painter and art educator.

Xu Beihong started studying with his father at the age of 6. When he went to Liyang by boat with his father at the age of 10, he had the poem "The spring water is filled with green, the green mountains are beautiful, the sailing is good and the weather is good, and the boat passes thousands of mountains." , is famous in his hometown for his artistic talent of creating poems on the spot. After he finished reading the "Four Books" and "Zuo Zhuan" at the age of 9, he began to learn painting from his father, copying one of Wu Youru's paintings and figures every day. Wu Youru was the largest illustrator in the late Qing Dynasty. He could depict pavilions, pavilions, insects, fish, birds and beasts, exotic flowers and plants, and even thousands of armies and horses on a large scale. Every time Xu Beihong went to the city with his father, he would go to the art shop to view the works of Shi Tao, Bada, Ren Bonian and others. After returning home, he would write from memory. Under the diligent instruction of his father and the influence of innovative senior painters, he laid a solid foundation for Chinese painting. In his lonely boyhood with few toys, Xu Beihong quietly fell in love with many animals around him, and carefully observed and described them, such as docile cows, galloping horses, quacking white geese, flocks of ducks floating on the water, Tabby cats lying tiredly in corners or playing in trees... all appear in his paintings one by one, as if they were alive.

When he was 13 years old, there was a flood in his hometown. Da Zhanggong took Xu Beihong to make a living elsewhere. He painted figures, landscapes, flowers, and animals, carved seals, and wrote Spring Festival couplets. At that time, portrait photography was only available in cities, so they often painted portraits of people. This was a very strict test for the young Xu Beihong and would have a significant impact on his future outstanding achievements in figure painting. Of course, this career as a performer was not only a training of artistic skills, but also brought him more into contact with the lower class society and the working people, inspiring his concern for the country and the people. He often signed his paintings at that time "China "Youth" and "Poor Hero in Jiangnan" express his great ambitions.

Xu Beihong’s hometown, Qitingqiao Town, Yixing, Jiangsu Province, Xu Beihong was already exploring and creating a new painting style when he was a boy. The Bandit brand cigarette boxes at that time included animal drawings. Beihong loved to collect them, and he saw them again. For various animal specimens, he made strict and careful sketches of the specimens. Some copies of the works of Western art masters gave him a vague desire to study art in Europe. However, the cold reality lay in front of him. The wandering life made his father seriously ill, and they had to return to their hometown.

17-year-old Xu Beihong has become a well-known painter in Yixing and teaches art in three schools: Yixing Women's Normal School, Pengcheng Middle School, and Shiqi Primary School. When Beihong was 19, his father died of illness. After burying his father with deep sorrow, Beihong decided to go to Shanghai to look for opportunities to work and study. When Zhang Zufen, a Chinese teacher at Yixing Junior Normal University, bid farewell to him, she said with ardent encouragement: "You are young, smart, and hardworking, and your future is limitless. I hope you will remember this sentence: 'People can't be arrogant, but they can't be arrogant.'" I don’t have anything to give you, so I’ll give you these kind words as a gift!” Xu Beihong felt infinite gratitude from the bottom of his heart, and he kept these words in mind for the rest of his life and took them as his motto. Until the later years of his life, he still said to me with tenderness: "Mr. Zhang Zufen can be called my first confidant!"

Xu Beihong was in Shanghai when he was 19 years old. In 1914, Xu Beihong came to Shanghai. Xu Ziming, a fellow countryman who was a professor at a public school in China, once recommended Beihong's paintings to the president of Fudan University. They were greatly appreciated and promised to arrange work. When Xu Ziming accompanied Xu Beihong to the principal, the principal was very surprised and whispered to Xu Ziming: "He is as young as a child, how can he work?" Xu Ziming argued enthusiastically: "As long as he has talent, why do you care? His age!" Later, Xu Beihong wrote to the president of Fudan University several times, but received no reply. As a result, Xu Beihong lived in Shanghai. At a loss for time, Xu Ziming introduced him to Yun Tieqiao, the editor of "Novel Monthly". Xu Beihong took his paintings and Xu Ziming's letter to see Yun Tieqiao. He was very popular and agreed to find Xu Beihong a small position as an illustrator in the Commercial Press, and asked Xu Beihong to hear back in a few days.

At this time, it was already the season of autumn rain. Xu Beihong did not have an umbrella, so he braved the rain to find out the answer. Mr. Yun Tieqiao said happily: "The thing is successful! You will be able to move to the Commercial Press soon." A warm feeling came to Xu Beihong's cold body. He immediately rushed back to the hotel and wrote to his mother and friends in his hometown, saying that he had found a job. Just as the letter was sent, there was a sudden knock on the door. Yun Tieqiao stood in front of the door, holding a paper bag in his hand, and said hurriedly: "The situation is desperate!" Xu Beihong hurriedly opened the paper bag and saw that in addition to his own painting, there was also an approval document inside: "Xu Beihong's painting It's not suitable." Xu Beihong felt his heart burst open and blood kept pouring out. An uncontrollable pain and disappointment gripped him fiercely. He ran to the Huangpu River and wanted to end his life. The turbid and rushing river water rushed against the river bank, and the ship's whistle roared sharply. Xu Beihong unbuttoned his clothes and let the ruthless wind and rain hit his young chest. When a cold shiver slowly spread from his heels to his whole body, he said to himself soberly: "A person who can extricate himself when he reaches the end of his rope is not considered cowardly!"

Xu Beihong returned. Hometown, bid farewell to the first melancholy New Year's Eve without a father. A folk doctor in the town comforted him with deep sympathy and gave him a small sum of money.

So Xu Beihong came to Shanghai again, but still couldn't find a job. By chance, Huang Zhenzhi, a wealthy businessman in Shanghai, saw Xu Beihong's works. He admired his genius and sympathized with his plight, and generously provided him with room and board. But soon Huang Zhenzhi unfortunately went bankrupt, and Xu Beihong had nothing to rely on. At that time, the famous Lingnan painters Gao Jianfu and Gao Qifeng brothers opened the Aesthetic Library in Shanghai. Xu Beihong painted a horse and sent it to them, which was greatly appreciated. He wrote back and said: "Although Han Qian was ancient, he couldn't do it better!" and asked Xu Beihong to draw four more pictures of ladies. At this time, Xu Beihong only had 5 copper coins left on him, and it would take a week to finish the 4 pictures of ladies. Xu Beihong could only buy a ball of glutinous rice with one copper coin every day to satisfy his hunger. On the 6th and 7th day, I didn't eat for the whole day. When he finally took the four paintings of ladies to the Aesthetic Library, it was snowing heavily and the Gao brothers were not there. Xu Beihong had to hand the paintings to the gatekeeper to accept them. He was so hungry that he had to take off his thin clothes. Go pawn.

When the severe cold gradually subsided, Xu Beihong saw the enrollment advertisement of Aurora University, applied for the exam, and was admitted. However, he had to pay tuition for admission, so he had to shyly go to a fellow countryman Ruan Zhaiguang, who was not rich, to borrow money. Ruan Zhaiguang warmly received and helped him. So Xu Beihong enrolled in school, and in addition to studying French, he continued to paint. One day, he read in the newspaper that the Mingzhi University attached to Hartung Garden was seeking a portrait of Cangjie, so he drew a portrait of Cangjie based on the ancient book's description and applied for it, hoping to get some remuneration and solve his life difficulties. A few days later, Mingzhi University sent a car to pick him up, praised his work, and invited him to teach art. Xu Beihong explained that he was still studying and had to wait until the end of the semester.

When the summer vacation came, Xu Beihong brought his painting tools to Mingzhi University. At that time, Mingzhi University often invited scholars and celebrities to give lectures. Xu Beihong therefore met famous scholars Kang Youwei, Wang Guowei and others. Kang Youwei discovered that Xu Beihong was a prodigy in the art field, and asked him to paint portraits of himself, his late wife, and their friends, and gave Xu Beihong his entire collection to view. Under Kang Youwei's guidance, Xu Beihong visited famous monuments, improved his calligraphy skills, and developed a sophisticated taste, gradually forming his majestic and unrestrained personal style.

Xu Beihong received a royalties from Mingzhi University and decided to go to Japan to study fine arts. In May 1917, Xu Beihong arrived in Tokyo and spent the whole day looking for places to hide his paintings. He felt that some Japanese painters were no longer limited by old methods, and gradually shed their old habits, and were able to carefully observe and depict nature, reaching a profound and beautiful state. This made Xu Beihong more determined to integrate Chinese and foreign techniques. In Japan, he also met the famous artist Fusugu Nakamura and saw his collection of many ancient Chinese inscriptions and fine Japanese paintings. Nakamura also asked Xu Beihong to bring the Japanese version of "Guangyi Zhou Shuangji" to Kang Youwei.

In 1917, when Xu Beihong traveled to Japan to study Japanese painting, Kang Youwei presented him with a letter as a farewell message. In December 1917, Xu Beihong came to Beijing and began to make a mark in Chinese art with his vibrant, national-style paintings. He rose to prominence in the world and was hired by Peking University as a tutor for the Painting Research Society. He saw a large number of excellent ancient Chinese paintings in the Forbidden City and drew rich nutrition from them.

The intellectual circles in Beijing were very active at that time. Publications such as "New Youth" and "Weekly Review" violently attacked feudal ideas and spread democratic ideas and culture. Xu Beihong was also deeply affected, making him stand at the forefront of the New Culture Movement and become the most determined innovator among Chinese painters. In the first issue of Peking University's "Painting Magazine", he took the title "On the Reform of Chinese Painting" and fiercely criticized the conservative forces in Chinese painting, pointing out to the point: "The decline of Chinese painters , It has reached its peak. There is no reason for the world's civilization to degenerate. Today, Chinese painting is 50 steps back from 20 years ago, 500 steps back from 300 years ago, 400 steps back from 500 years ago, and 700 steps back. A thousand steps ago, eight hundred steps a thousand years ago. The decline of the nation is regrettable." He believed that the reason for the decline of Chinese painting was: "It is said to be conservative, but it has lost its academic independence." He wrote with emotion: " It would be a great shame and a great disgrace to treat those who failed to catch up with our ancestors thousands of years ago." On the issue of how to carry out innovation, he clearly stated: "The good ancient methods should be preserved, the outdated ones should be inherited, and the bad ones should be changed. Those who have enough will be added, and those who can adopt Western paintings will be integrated." Thanks to the help of Fu Zengxiang and Cai Yuanpei, Xu Beihong finally received public funding to study in France. In March 1919, with the determination to learn science and democracy from the West and take the revitalization of Chinese art as his own mission, Xu Beihong set sail from Shanghai to France, beginning a turning point in his artistic career.

In 1918, Xu Beihong was hired as the tutor of the Peking University Painting Research Society. This is a group photo at that time. After Xu Beihong arrived in Paris, he first carefully observed the essence of Western art in major museums and compared the differences between them and Eastern art. There, he stopped painting for several months, and then entered the Xuliang Painting Academy to study sketching. Later, he was admitted to the Ecole Nationale Supérieure des Beaux-Arts in Paris, where he was taught by Flamant and Gaulemont. Every time I take a competitive exam, I come out on top. After school, he went to the Louvre and the Luxembourg Museum to study the similarities and differences of various schools and their achievements. Copy the works of Pluton, Delacroix, Velazquez, Rembrandt and other masters. In the winter of 1920, the great French sculptor Tang Pott introduced Xu Beihong to Dayan Boufflers, the leader of the French National Painting Society. The Association opposed the outdated French Artists Association and advocated innovation based on absorbing the strengths of various schools. It enjoyed high prestige at the time.

From then on, Xu Beihong went to Dayang's studio every Sunday to listen to Dayang's teachings and participate in the tea parties of the artists of the school. In particular, he learned a lot from his conversation with Benan'er. Da Yang encouraged Xu Beihong and said: "Learning art is very hard. Don't be greedy for exaggeration and don't be content with small achievements." He asked Xu Beihong to draw sketches carefully and develop the habit of silent writing.

The French National Art Exhibition opened in April 1921. Xu Beihong watched carefully from morning to night. When he walked out of the venue, he discovered that it was snowing heavily outside. He had not eaten all day and lacked a coat to keep out the cold. He suddenly felt hungry and cold. I had severe cramping, abdominal pain, and severe intestinal spasm. He often forced himself to paint despite the pain, and one of the sketches that is still preserved today says: "When people look at my paintings, how can they know that I am in pain every time because of this."

In 1919, Xu Beihong left the museum French Photo This summer, his illness became more severe and his tuition fees were completely cut off, so he had no choice but to go to Berlin. In Berlin, Xu Beihong met Camp, the director of the Berlin Academy of Fine Arts, and saw the works of Menzel, Suigandi and Camp. He felt that although there were many excellent works in France, they were still limited. He loved Rembrandt's paintings the most, so he went to the museum to copy them and continued painting for 10 hours every day, without even drinking a sip of water. Especially when I was copying Rembrandt's portrait of the Second Lady, I put in a lot of effort and felt that I had gained a little bit, but I still couldn't use it in my own works, so I worked harder.

In 1923, after Xu Beihong returned to Paris, his oil painting "Old Woman" was selected for the French National Art Exhibition for the first time. Paying homage to Da Yang again, he stated that although he had not slacked off in his studies, he had made very little progress. Dayang said: "People must have the habit of suffering, and the same goes for studying... People who have not experienced hardship often lack grand ambitions. The biggest writers are mostly people with the strongest perseverance, so they can achieve high achievements and appeal for mankind. "Da Yang asked Xu Beihong to further refine his sketches. When painting the human body in oil, he should carefully study the parts and understand the subtleties, and not pursue sharp and eye-catching brushstrokes. Xu Beihong followed Dayang's teachings and saw great results, so he worked harder. There have been masterpieces such as "Longing", "Xiao Sheng", "The Sound of the Piano", "Portrait Caressing a Cat", "Wearing from a Far Away" and "Groomman and Horse". In 1927 alone, 9 works were selected for the French National Art Exhibition and received high praise.

Xu Beihong’s teacher, the famous French painter Mr. Dayang, Xu Beihong also went to Singapore in 1925 to paint for Tan Kah Kee and his Xiamen University, and exhibited his paintings in Shanghai, which aroused great interest in the cultural circle. interest. Kang Youwei wrote at the time: "Xu Beihong wrote portraits of me, Duke Wen Shen, and Shen Zipeishang 10 years ago. They are lifelike. He is a genius in painting. Later he traveled to Japan, and studied painting in France and Germany, and he has been proficient in it for 7 years. Today. The paintings I have made are profound, magnificent, and unique in China. Their paintings are unprecedented in China, and their style of painting is also unprecedented in China."

In 1926, Xu Beihong. When he went to the museum in Brussels to paint, he loved the works of Rubens and considered him one of the best color painters in ancient and modern times.

In the spring of 1927, Xu Beihong went to Italy and Switzerland, lingering in front of the famous sculptures of St. Peter's Temple and Michelangelo's murals in the Sistine Chapel, and indulged in admiring the masterpieces of the Renaissance masters. We also visited the ancient city of Pompeii and appreciated the atmosphere of ancient Western art.

After 8 years of diligent study and study, Xu Beihong felt that he was confident before creating and could write freely and skillfully. So, with his superb painting techniques and extensive art knowledge, he Returning to his motherland after a long absence, he devoted himself to the realism movement that revolutionized Chinese painting. As an honest and upright artist, Xu Beihong's artistic activities have always been closely linked to the fate of his motherland.

In 1928, Xu Beihong, Tian Han, Ouyang Yuqian and others founded the "Southern Art Academy" in Shanghai, and Xu Beihong served as the director of the art department of the academy. After returning to China in 1927, Xu Beihong, together with Tian Han and Ouyang Yuqian, founded the Nanguo Art Institute. While serving as the dean of the Fine Arts Department, Xu Beihong began to create the huge oil painting "Tian Heng's Five Hundred Men", praising the oppressed people's most precious spirit of wealth, no lust, and unyielding might.

In 1928, Nanjing Central University also hired Xu Beihong as a professor in the art department. Xu Beihong proposed that he could not resign from his job in Nanjing. So, he spent half the month in Nanguo and half the month teaching at the Chinese University of China.

In 1929, Xu Beihong became president of the Beijing Academy of Art. He hired Qi Baishi as a professor with the firm attitude of "one word speaks to all" and tried his best to promote the innovation of Chinese painting teaching.

Feeling that many talents in China were buried and suppressed, he created the huge Chinese painting "Nine Fang Gao". After several revisions of the draft, the joy of Chollima meeting his soulmate and the far-sighted demeanor of Jiufang Gao, although a woodcutter, are vividly expressed.

Xu Beihong spent two years from 1931 to 1933, using "Shang Shu" as the theme, to paint the huge oil painting "The Empress" to express the people's opposition to the oppressors and the desire for salvation. .

In the 1930s, in order to promote Chinese art and improve the international status of Chinese art, Xu Beihong went to Europe in 1933 to hold a Chinese painting exhibition. The exhibition first caused a strong shock in Paris. 3,000 important people attended the opening ceremony. The exhibition was extended for 15 days at the request of the audience. The catalog was printed to page 3 and there were more than 200 introductory articles in newspapers. French writer Paul Valory wrote a special introduction to the exhibition. Xu Beihong's works were enthusiastically praised by the public. The French government purchased his painting "Cypresses" for collection. French newspapers praised the painting as being comparable to the master of the Barbizon School, Rousseau.

Subsequently, Xu Beihong went to Brussels, Berlin, and Frankfurt to hold personal exhibitions, which were a great success. More than 50 newspapers and magazines have published praise articles.

Xu Beihong's Chinese painting exhibitions held in Milan, Italy, Leningrad and Moscow in the Soviet Union also caused a sensation. The documentary of the exhibition was screened across the country and was hailed as the most important cultural exchange since Marco Polo. The Hermitage Museum of the Soviet Union also set up a special exhibition room for Chinese paintings. Xu Beihong wrote in the article "The Process of Promoting Chinese Art Throughout Europe": "I went abroad to hold Chinese painting exhibitions this time. I have exhibited 7 times in France, Belgium, Germany, Italy and the Soviet Union, and established 4 Chinese painting exhibition rooms in A total of 20,000 articles and magazines were published by major museums praising Chinese culture due to the exhibitions. All my contacts at the exhibitions, internally and externally, were never done in the name of the government... He spent huge sums of money from the Chinese people and was known as the leader of the cultural fund. There is no help from any agency. All our citizens, please pay attention to this."

Xu Beihong brought back precious masks of Lenin and Tolstoy from the Soviet Union and facilitated this. Participated in exhibitions of Soviet prints in Nanjing and Shanghai.

In 1935, Xu Beihong went to Guangxi and created the landscape painting "Spring Rain on the Li River". He used the technique of large splashes of ink to depict the most beautiful Guilin landscape in the world. Representative work.

After the outbreak of the Anti-Japanese War, Central University moved to Chongqing, and Xu Beihong returned to the school to teach. He also created traditional Chinese paintings such as "Ba People Drawing Water" and "Ba Poor Women" that reflected the hardships of people's lives.

In 1932, he moved to a new residence at No. 6 Fuhougang, Nanjing. In view of the severe national crisis at that time,

Xu Beihong named it "Dangerous Nest". He wrote in "Short Notes of a Dangerous Nest":

"The ancients taught us to be prepared for danger in times of peace." When faced with disasters and chaos, one should lie down on a firewood and taste the danger, and dare to forget the danger. The meaning of the name is also. In 1938, Xu Beihong took his works to Nanyang and held art exhibitions in Singapore, Kuala Lumpur, Penang, and Ipoh with unprecedented success. Xu Beihong donated all the proceeds from the exhibition to help refugees in his motherland.

In 1940, Xu Beihong was invited by the Indian poet and philosopher Rabindranath Tagore to give lectures at the International University in India and held an art exhibition in Calcutta. Tagore wrote in the preface to the exhibition: "Chinese art master Xu Beihong provides us with an ancient image that has disappeared in memory in rhythmic lines and colors, without losing the local color and uniqueness of his own experience. Style... I admired these paintings to my heart's content and I am sure that our art lovers will get rich inspiration from these paintings... To talk is to talk... In this way, I raise the curtain of conversation to guide the audience towards A once-in-a-lifetime feast."

Xu Beihong made more than 10 sketches of Tagore and completed the Chinese painting "Tagore" based on them. The great poet is concentrating on conceiving a beautiful poem. The quiet and mysterious garden has infinite poetry. It is one of Xu Beihong's portrait masterpieces. Under Tagore's introduction, Xu Beihong also drew a sketch of Mahatma Gandhi.

In India, Xu Beihong created the huge Chinese painting "The Foolish Old Man Moves the Mountains" that he had long conceived. The picture is shocking with its arduous spirit and belief in victory. At the critical juncture of the life and death of the Chinese nation, he used his brush to write a great image of his strong and unyielding compatriots that was worthy of the times. Xu Beihong made more than 100 studies and drawings for this painting. Finally, giant rice paper was used to represent the human body in vigorous motion. This is unprecedented in Chinese painting. It opens a new page for the development of Chinese painting. It is a perfect combination of history and reality, Western painting and Chinese painting.

After Xu Beihong returned to Chongqing in 1942, he prepared to establish the China Academy of Art under extremely difficult conditions. At the same time, he created a large number of excellent Chinese paintings, among which animal paintings occupy a very important position. The animals in his paintings all entrust the artist's own spirit and have strong feelings of the times. He liked to write about lions that commanded all beasts, and pointed out his longing for national awakening and rise with the inscription "New life comes alive". When the motherland was invaded and the people were ravaged, he behaved like a wounded lion with angry eyes. The horses he painted are loved by people all over the world for their indomitable courage and strength. "I ask you what is the use of a healthy foot, for you have to run all day long in search of life", "It must be that this world is not a long night, and there is an end to the desert and desolation", "Mountains and rivers have fought a hundred battles to return to democracy, and the rugged roads have been smoothed out", the painter's joy Anger, sorrow and joy have merged with the galloping horse that can support life and death. The rooster crowing in the wind and rain, the sparrow flying against the wind, the gluttonous white goose and the chaotic lazy cat are all lifelike and endowed with profound meanings as they come out of the paper. It is intended to give people good aftertaste and profound enlightenment.

In the summer of 1943, Xu Beihong painted two figure paintings with completely different atmospheres in Qingcheng Mountain, both of which were based on Qu Yuan's "Nine Songs". One is a lonely mountain ghost in a quiet valley, and the other is a soldier who sacrificed his life for the country in a fierce hand-to-hand battle. Whether it is "Mountain Ghost" or "National Memorial", the artist's sadness and anger overflows outside the painting, and is closely connected with the pulse of the motherland.

In 1946, Xu Beihong came to Peking and served as the principal of Peking Art College. He hired many influential and capable artists to teach at the school. In view of the weaknesses of Chinese art teaching, he attached great importance to strict basic training, emphasized that sketching is the foundation of plastic arts, and the description of objects must be accurate.

At the same time, he also opposed copying objects and advocated key selections, both broad and subtle. He advocated realism and required students to take expressing people's lives as their own responsibility rather than being self-sufficient by copying ancients. He advocated the development of traditional Chinese painting and the development of traditional Chinese painting. innovation.

In April 1949, he attended the First World Congress for the Defense of Peace as a representative of New China. In the same year, he was appointed president of the Central Academy of Fine Arts and elected president of the National Association of Art Workers. The heavy teaching work and social activities never stopped him from painting. He painted many portraits of famous labor models. Moreover, he continued to care for young people outside of school. Every day, when the first ray of morning light shines through the window, he gets up and goes to work. The first thing was to reply to the letters I received the day before. Most of them came from young people who loved art from all over the country. Some even sent their works asking for corrections. Xu Beihong responded one by one, pointing out the advantages and disadvantages of each volume of paintings sent, and giving praise, encouragement, criticism, and suggestions. As a result, he shortened his sleep time and continued to do so for decades. As a senior painter, he felt the responsibility to care for the younger generation. At the same time, the review of his painful journey of learning painting also kept his passion burning. , Xu Beihong has helped or shown affection to many outstanding contemporary artists on their way to success.

In 1933, Xu Beihong went to Europe and held an exhibition of modern Chinese paintings and his own works.

Chinese painting had a huge influence in Europe. In 1951, Xu Beihong went to the Daoshu Zhengyi water conservancy project site in Shandong Province to experience life despite his illness. He painted many portraits of migrant workers and prepared to create a huge oil painting "Contemporary New Foolish Old Man". During the composition period, he suddenly suffered a cerebral hemorrhage and was left half-body paralyzed.

In 1953, when Xu Beihong was gradually able to get up and move, he went to the Central Academy of Fine Arts to give classes to graduating students and teacher training groups. He felt that there was still a lot of knowledge that had not been imparted to them, so he tirelessly gave lectures and revised paintings for them. , completely forgetting that he was still ill. The Second National Congress of Literary and Art Workers opened on September 23. He served as executive chairman and presided over the meeting. That night, he suffered a sudden cerebral hemorrhage and died on September 26. Representatives from the literary and art circles across the country escorted Xu Beihong's body to the Babaoshan Revolutionary Cemetery in the western suburbs of Beijing for burial.

In December of the same year, an exhibition of Xu Beihong's posthumous works was held in Beijing. Premier Zhou Enlai visited in person. The Prime Minister stood in front of Xu Beihong's portrait and pointed affectionately at the couplet written by Xu Beihong, "With cold eyebrows facing a thousand fingers, I bow my head willingly." "Wei Ruziniu" said: "Xu Beihong has this kind of spirit." The Prime Minister praised Xu Beihong's works as a blend of ancient and modern Chinese and foreign techniques, and he was an art master of his own era.

Xu Beihong’s former residence was opened as Xu Beihong Memorial Hall, and Premier Zhou Enlai inscribed the plaque “Beihong’s Former Residence” in powerful fonts.

There are more than 1,200 pieces of Xu Beihong's works. He scrimped on food and clothing and purchased more than 1,100 pieces of works by calligraphers and painters from the Tang, Song, Yuan, Ming, Qing and modern times, as well as more than 10,000 Chinese and foreign art books, pictures, and tablet rubbings. They were all dedicated to the country by their families.

Xu Beihong only lived to be 58 years old. His life was too short. But his love for the motherland and the people remains forever. His works with strong patriotism and superb artistic skills are displayed in the Xu Beihong Memorial Hall in Beijing, stirring the hearts of thousands of viewers and causing people to pay deep tribute to him. of remembrance.

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