1923年在北平美术专科学校图案系学习;

1928年赴日本就读于东京美术学校油画系，毕业后在该校研究室学习两年。

1935年回国任京华美术学院、北平艺专西画系教授。

1938年赴延安任鲁迅艺术学院美术系主任。

1946年随鲁艺工作团赴佳木斯，任东北画报社记者。

1949年任东北鲁迅艺术学院副院长、教授，东北行政委员会文化局局长。

1954年调北京历任中央美术学院副院长、教授，民族美术研究所研究员、副所长，中国艺术研究院顾问等职。曾历任合江日报社、东北画报社记者。

1954年4月，率中国画家代表团赴苏联举办中国现代国画展览

1957年被错划为右派分子，1959年平反。

1975年后在美术研究所从事研究工作。

1978年后曾任中国艺术研究院顾问。

 早期油画作品有《日本妇女肖像》、《故乡之晨》、《破石膏》、《苹果和书》、《罂粟花》等。

《自画像》(油画)、《日本妇女肖像》(油画)，(均藏于日本东京美术学校，即现在的东京艺术大学美术系)，《破石膏》(油画)参加1937年4月在南京举办的第二届全国美术展览会，并被收入商务印书馆出版的《现代西画图案雕刻集》，《故都之晨》(油画)等，《简明艺用人体解剖图》是1941年为延安鲁迅艺术学院编绘的教学图集，1951年10月、1952年5月先后由上海万叶出版社出版初版和二版。

论文《国画与素描》(《美术研究》1957年第2期)，《现代中国画展览作品目录序言》刊于1957年莫斯科出版的俄文版单行本。作品集有《王曼硕印存》(1981年天津杨柳青年画出版社出版)，《王曼硕作品集》(1986年辽宁美术出版社出版)。

回忆录《忆鲁艺的美术教育》。

 一代人民艺术家--王曼硕

王曼硕，原名王文溥，号万石，1905年生，泰安肥城市老城人。1923年考入北平美术专科学校，1927年考入日本东京美术学校，1935年回国，先后受聘于京华艺术学院和国立艺术专科学校，历任讲师、副教授、教授。1938年奔赴延安，执教于鲁迅艺术学院，1939年加入中国共产党，历任东北画报社记者，东北鲁迅学院副院长、教授，东北行政委员会文化局长，中央美术学院副院长兼党委书记，中国艺术研究院顾问。1985年1月11日病逝于北京。

王曼硕出身于书香门第。家中藏有王羲之、郑板桥等名家书画真品，他耳濡目染，自幼受到艺术的熏陶。中学时期，即酷爱绘画、篆刻和书法。他喜欢魏体，曾反复临摹龙门20品;亦喜爱浙派篆刻，西泠八家中，尤爱丁敬的作品。

他广泛浏览我国古今艺术理论书籍，尤其爱读《艺舟双楫》、《桐阴画诀》、《画鉴》等清人著名书画论著，为后来在艺术上的发展奠定了基础。

1923年，王曼硕考入北平美专，后因家贫辍学，自学美术。家人怕徒劳无益，劝其另辟新途。他坚定地说:"锲而不舍，金石可镂，滴水即能穿石，以我毅力，岂有不成之理!"自此愈加发愤，除一日三餐，几乎把所有时间都用在苦练书法、绘画和篆刻上。1927年，王曼硕东渡日本，考入东京美术学校油画系，他如鱼得水，如饥似渴地研究绘画理论，随时随地进行速写和篆刻练习，进步很快。毕业后又考入该校两年制的研究室深造，其间，曾加入留日学生秘密组织的马克思主义学习会，受到了革命教育。

1935年毕业后回到北平，作了《故都之晨》和《破石膏》两幅油画。这正是当时北平萧索颓败的景象。同时，也对民生凋敝的旧中国进行了无情的鞭笞。同年，他先后受聘于京华艺术学院和国立艺术专科学校，历任讲师、副教授和教授。其间,拜师齐白石，学习书画篆刻，被齐白石誉为"艺术界不可多得的人才"。1937年4月，曼硕的作品《故都之晨》、《破石膏》、《静物》等，在南京第2次全国美术展览会上展出。其中《破石膏》被收入同年商务印书馆出版的《现代西画图案雕刻集》中。

1938年8月，王曼硕目睹国土沦陷，国民党政府腐败，消极抗日，他感到异常愤慨，毅然奔赴革命圣地延安，执教于鲁迅艺术学院并任美术系主任，为革命培养了大批艺术人才。教学之余，亦操刀治印，曾为博古、李鼎铭、江丰、宋侃夫等人治印多方。1939年，光荣加入了中国共产党。

1946年，王曼硕随鲁艺工作团赴佳木斯，任东北画报社记者，曾编绘102幅连环画《于廷州罪恶史》在《东北画报》上连载。编写的小故事《懒汉》等小册子也出了单行本。1949年后，先后任东北鲁迅艺术学院教授、副院长、党组书记，东北行政委员会文化局长。曼硕艰苦朴实，工作勤勉，中共中央东北局曾授予他"模范共产党员"的称号，《东北日报》亦刊登过他感人的事迹。中国美术家协会成立后，是该会最早的会员和理事之一。

1951年，王曼硕在延安鲁艺编绘的教材《简明艺用人体解剖图》，由上海万叶书店出版，此书是美术院校基本理论教科书，出版后，不仅美术工作者，许多医务工作者和医科学生也争相购买。1954年，被调往北京，任中央美术学院副院长兼党委书记。工作之余，致力于国画的研讨。1957年，在《美术与研究》上发表了《国画与素描》一文，对国画的发展进行了精辟的论述。

同年4月，率中国画家代表团赴苏联举办中国现代国画展，深受苏联人民的欢迎。反右时，被错划为"右派分子"。1959年得到平反，调至民族美术研究所。那时，他研读了大量古代金石书法方面的作品和论著，并常到齐白石处切磋交谈。齐白石曾作梅花、雁来红各一幅，并抄录毛泽东《沁园春》一词相赠。曼硕得助于齐白石指导，广取诸家之长，逐渐形成了自己婉通而厚重的艺术风格。

1963年，日本画家代表团来华，他陪同防问，并为代表团成员杉本健吉、硌伊之助等人治印留念。

"十年动乱"期间，王曼硕被无端批斗，下放农村劳动。曾先后为黄胄、华君武等人治印。1978年第2次得到平反，担任中国艺术研究院顾问，他正以晚年的余力，更加勤奋地为党工作。1982年，天津杨柳青画社出版了《王曼硕印存》。由于患病，1985年1月11日在北京积水潭医院与世长辞，终年80岁。

次年，《王曼硕作品选》由辽宁美术出版社出版。对于王曼硕一生，党和人民给予了他高度评价，称赞他"在金石篆刻的实践、研究和在艺术教育、培养艺术人才方面都做出了突出的贡献"，"是国内知名的人民艺术家、教育家、美术家、金石书法家"。

 In 1923, he studied in the Department of Patterns of Beiping Academy of Fine Arts.

In 1928, he went to Japan to study in the Oil Painting Department of Tokyo Academy of Fine Arts. After graduation, he studied in the research room of Tokyo Academy of Fine Arts for two years.

In 1935, he returned to China and became a professor in the Department of Western Painting of Beijing Academy of Fine Arts and Peiping Art College.

In 1938, he went to Yan'an to be the chairman of the Art Department of Lu Xun Art College.

In 1946, he went to Jiamusi with the Lu Art Work Group and was a journalist of Northeast Picture Newspaper.

In 1949, he was Vice President and Professor of Northeast Luxun Art College and Director of Culture Bureau of Northeast Administrative Committee.

In 1954, he was transferred to Beijing as Vice-Dean and Professor of the Central Academy of Fine Arts, Research Fellow and Vice-Director of the Institute of National Fine Arts, and Consultant of the Chinese Academy of Art. He has been a journalist of Hejiang Daily and Northeast Pictorial.

In April 1954, he led a delegation of Chinese painters to the Soviet Union to hold an exhibition of modern Chinese painting.

It was wrongly classified as a rightist in 1957 and rebelled in 1959.

He worked in the Institute of Fine Arts after 1975.

He was a consultant of the Chinese Academy of Art after 1978.

Early oil paintings include "Portrait of Japanese Women", "Morning of Hometown", "Broken Gypsum", "Apple and Book", "Poppy Flower" and so on.

"Self-Portrait" (Oil Painting) and "Portrait of Japanese Women" (Oil Painting), (all hidden in the Tokyo School of Fine Arts, now the Department of Fine Arts, Tokyo University of Art), and "Broken Gypsum" (Oil Painting) participated in the second National Art Exhibition held in Nanjing in April 1937, and were included in the "Modern Western Painting Carving Collection" published by the Commercial Press. 》 "The Morning of the Old Capital" (Oil Painting) and so on, "Concise Art Anatomy of the Human Body" is a teaching atlas compiled for Luxun Art College in Yan'an in 1941. In October 1951 and May 1952, the first and second editions were published by Shanghai Wanye Publishing House successively.

Paper "Chinese Painting and Sketch" (Art Research, No. 2, 1957), "Preface to the Catalogue of Modern Chinese Painting Exhibition Works" was published in Russian in Moscow in 1957. His works include Wang Manshuo's Preservation (Tianjin Yangliu Youth Painting Publishing House in 1981) and Wang Manshuo's Works (Liaoning Fine Arts Publishing House in 1986).

Memoir "Recalling the Art Education of Lu Yi".

 A Generation of People's Artists--Wang Manshuo

Wang Manshuo, formerly known as Wang Wenpu, was born in 1905 in the old city of Taian Fei. He was admitted to Beiping Academy of Fine Arts in 1923, Tokyo Academy of Fine Arts in 1927, and returned to China in 1935. He was successively employed by Beijing Academy of Fine Arts and National Academy of Fine Arts. He has been a lecturer, associate professor and professor. In 1938, he went to Yan'an to teach at Lu Xun Art College, joined the Communist Party of China in 1939, and was a journalist for Northeast Picture Newspaper, vice president and professor of Northeast Lu Xun College, director of culture of Northeast Administrative Committee, vice president and Secretary of Party Committee of Central Academy of Fine Arts, and consultant of China Art Research Institute. He died of illness in Beijing on January 11, 1985.

Wang Manshuo was born in a scholarly family. There are authentic works of calligraphy and painting by Wang Xizhi and Zheng Banqiao, who have been influenced by art since childhood. In middle school, I loved painting, seal cutting and calligraphy. He likes Wei Style and has repeatedly copied 20 works of Longmen. He also likes the seal carvings of Zhejiang School and the works of Xiling Bajia, especially Edin Jing.

He browsed extensively the ancient and modern art theory books of our country, especially the famous works of calligraphy and painting of Qing Dynasty such as Yizhou Shuanghuan, Tongyin Painting Tips and Painting Inspection, which laid a foundation for the later development of art.

In 1923, Wang Manshuo was admitted to Beiping College of Fine Arts. He dropped out of school because of his poor family and taught himself fine arts. Family members are afraid of uselessness and advise them to find new ways. He firmly said: "perseverance, stone can be carved, dripping can wear stone, with my perseverance, it is unreasonable!" Since then, more and more angry, except for three meals a day, almost all the time spent on practicing calligraphy, painting and seal carving. In 1927, Wang Manshuo traveled east to Japan and was admitted to the Oil Painting Department of the Tokyo Academy of Fine Arts. After graduation, he was admitted to the two-year research room of the University for further study. During that time, he joined the Marxist Learning Association secretly organized by students studying in Japan and received revolutionary education.

After graduation in 1935, he returned to Peiping and made two oil paintings, The Morning of the Old Capital and The Broken Gypsum. This was exactly the scene of the depression and decadence of Peiping at that time. At the same time, it also relentlessly whipped the depressed people's livelihood of the old China. In the same year, he was successively employed by the Beijing Art Institute and the National Academy of Art, successive lecturers, associate professors and professors. In the meantime, Qi Baishi, a teacher, studied calligraphy, painting and seal carving, and was praised as "rare talent in the art world". In April 1937, Manshuo's works Morning of the Old Capital, Broken Gypsum and Still Life were exhibited at the 2nd National Art Exhibition in Nanjing. Among them, "Broken Gypsum" was included in the collection of modern western painting patterns and sculptures published by the Commercial Press in the same year.

In August 1938, Wang Manshuo witnessed the fall of the territory, the corruption of the Kuomintang government and the passive resistance to Japan. He felt extremely indignant and went to Yan'an, the holy place of the revolution. He taught at Lu Xun Art College and served as chairman of the Department of Fine Arts. He trained a large number of artistic talents for the revolution. In addition to teaching, he also used knives to rule seals. He used to rule seals for Bogu, Li Dingming, Jiangfeng, Song Kanfu and others. In 1939, he joined the Communist Party of China honorably.

In 1946, Wang Manshuo went to Jiamusi with the Lu Art Work Group as a reporter of Northeast Picture Press. He had compiled 102 comics, The History of Evil in Yu Tingzhou, which were serialized in Northeast Picture Press. Brochures such as the little story "Lazy Man" have also been published in one-line edition. Since 1949, he has successively been a professor, vice president, Secretary of the Party Leadership Group of Northeast Luxun Art College, and director of culture of Northeast Administrative Committee. The Northeast Bureau of the Central Committee of the Communist Party of China once awarded him the title of "Model Communist Party Member" because of his hard work and diligence. The Northeast Daily also published his touching stories. After the establishment of the Chinese Artists Association, it was one of the earliest members and directors of the Association.

In 1951, Wang Manshuo compiled the textbook "Concise Art Anatomy of Human Body" in Luyi, Yan'an, which was published by Shanghai Wanye Bookstore. This book is a basic theory textbook of art colleges. After its publication, not only artists, but also many medical workers and doctors rushed to buy it. In 1954, he was transferred to Beijing as Vice President and Secretary of the Party Committee of the Central Academy of Fine Arts. In addition to my work, I devote myself to the study of Chinese painting. In 1957, the article "Chinese Painting and Sketch" was published in "Art and Research", which made a penetrating exposition of the development of Chinese painting.

In April of the same year, he led a delegation of Chinese painters to the Soviet Union to hold an exhibition of modern Chinese painting, which was well received by the people of the Soviet Union. When opposing the right, they were misclassified as "rightists". In 1959, he was rehabilitated and transferred to the Institute of National Fine Arts. At that time, he studied a large number of ancient works and works on epigraphy and calligraphy, and often went to Qi Baishi to talk. Qi Baishi once painted plum blossom and wild goose, and copied Mao Zedong's Qinyuan Spring as a gift. Thanks to Qi Baishi's guidance, Manshuo gradually formed his own graceful and thick artistic style by taking the advantages of various schools.

In 1963, a delegation of Japanese painters came to China. He accompanied Fangqu and paid tribute to the members of the delegation, such as Kenji Sugimoto and Ai Haoyi.

During the "ten-year turmoil", Wang Manshuo was subjected to unprovoked criticism and decentralization of rural labor. He has successively ruled seals for Huang Qiang, Hua Junwu and others. He was rebelled for the second time in 1978 and served as an advisor to the Chinese Academy of Art. He was working more diligently for the Party in his later years. In 1982, Tianjin Yangliuqing Painting Society published Wang Manshuo's Preservation. Due to illness, he died in Beijing Jishuitan Hospital on January 11, 1985 at the age of 80.

The following year, Selected Works of Wang Manshuo was published by Liaoning Fine Arts Publishing House. For Wang Manshuo's whole life, the Party and the people gave him high praise and praised him for his "outstanding contribution in the practice, research and artistic education and training of artistic talents" and "he is a well-known people's artist, educator, artist and epigraphy calligrapher in China".