自幼习画
徐悲鸿出身贫寒，自幼随父亲徐达章学习诗文书画（6岁时跟着父亲读四书五经，后来又学绘画）。出生在屺亭桥镇的一个平民家庭的徐悲鸿，原名寿康，年长后改名为“悲鸿”。父亲徐达章是私塾先生，能诗文，善书法，自习绘画，常应乡人之邀作画，谋取薄利以补家用。母亲鲁氏是位淳朴的劳动妇女。徐悲鸿9岁起正式从父习画，每日午饭后临摹晚清名家吴友如的画作一幅，并且学习调色、设色等绘画技能。10岁时，已能帮父亲在画面的次要部分填彩敷色， 还能为乡里人写“时和世泰，人寿年丰”等春联。
赴外辗转
13岁随父辗转于乡村镇里，卖画为生，接济家用。背井离乡的日子虽然艰苦，却丰富了徐悲鸿的阅历，开拓了其艺术视野。17岁时，徐悲鸿独自到当时商业最发达的上海卖画谋生，并想借机学习西方绘画，但数月后却因父亲病重而不得不返回老家。
确立思路
在20岁时再度来到上海，在友人的扶助下，他考入法国天主教会主办的震旦大学，为日后的赴法留学打下了一定的法语基础。其间认识了著名的油画家周湘、岭南画派的代表人物高奇峰、高剑父，在画作上得到了他们的赞许和指点，增强了绘画创作的信心。他还结识了维新派领袖康有为，在其影响下确立了自己的创作思路。在康氏“鄙薄四王，推崇宋法”的艺术观念影响下，他对只重笔墨不求新意的“四王”加以贬薄，认为只有唐代吴道子、阎立本、李思训，五代黄筌，北宋李成、范宽等人的写实绘画才具精深之妙。在康有为的支持下，他观摩各种名碑古拓，潜心临摹《经石峪》、《爨龙颜碑》、《张猛龙碑》、《石门铭》等，深得北碑真髓，书法得以长进。后获得赴日本东京研究美术的资助，在日本，徐悲鸿饱览了公私收藏的大量珍品佳作，深切地感受到日本画家能够会心于造物，在创作上写实求真，但在创作上缺少中国文人画的笔情墨韵，无蕴藉朴茂之风。
徐悲鸿从日本归国后受聘为北京大学“画法研究会”导师。在京期间，相继结识了蔡元培、陈师曾、梅兰芳及鲁迅等各界名人，深受新文化运动思潮的影响，树立了民主与科学的思想。
留学期间
1919年赴法国留学，考入巴黎国立美术学校学习油画、素描，并游历西欧诸国，观摩研究西方美术。在北洋政府的资助下，24岁的徐悲鸿到法国学习绘画。抵欧之初，他参观了英国的大英博物馆、国家画廊、皇家学院的展览会以及法国的卢佛宫美术馆，目睹了大量文艺复兴时期以来的优秀作品。徐悲鸿感到自己过去所作的中国画是“ 体物不精而手放佚，动不中绳，如无缰之马难以控制。”于是，他刻苦钻研画学，并考入巴黎美术学校，受教于弗拉芒格先生，开始接受正规的西方绘画教育。弗拉芒格擅长于历史题材的人物画，其画作不尚细节的刻画而注重色彩的和谐搭配与互衬，对徐悲鸿日后油画风格的形成有着巨大的影响。
徐悲鸿每日乐此不疲地进行西洋画的基本功训练，上午在巴黎美术学校学习，下午去叙里昂研究所画模特儿，有时还抽空去观摩各种展览会。此期间他有幸结识了著名画家柯罗的弟子艺术大师达仰，每星期日携画到达仰画室求教。达仰“勿慕时尚，毋甘小就”及注重默画的艺术思想对他影响较大，使得他没有追随当时法国日渐兴盛的现代派画风，而是踏踏实实地钻研欧洲文艺复兴以来的学院派艺术，在继承古典艺术严谨完美的造型特点的同时，掌握了娴熟的绘画技巧。留学4年之后，徐悲鸿的绘画水平已达到可与欧洲同时期的艺术家相媲美的地步，其油画作品《老妇》入选法国国家美术展览会（沙龙）。
由于北洋政府一度中断学费，徐悲鸿被迫转至消费水平较低的德国柏林。在那里，徐悲鸿仍然不放过每一个学习的机会。他求教于画家康普，到博物馆临摹著名画家伦勃朗的画作，并且常去动物园画狮子、老虎、马等各种动物，以提高自己的写生能力。当徐悲鸿重新获得留学经费后，便立即从德国返回法国继续学习。他抓紧每一寸时光，在名师们正规而系统的训练和他本人孜孜不倦的努力钻研下，绘画水平日渐提高，创作出一系列以肖像、人体、风景为主题的优秀的素描、油画作品，如《抚猫人像》、《持棍老人》、《自画像》等。
徐悲鸿在旅欧的最后阶段还先后走访了比利时首都布鲁塞尔，意大利的米兰、佛罗伦萨、罗马及瑞士等地。美丽的异国风光令他陶醉，欧洲绘画大师们的佳作令他受益匪浅。长达8年的旅欧生涯，塑就了他此后一生的审美意趣、创作理念和艺术风格。
技融回国
学有所成的徐悲鸿在32岁这一年回到中国，开始在国内投身于美术教育工作，发展自己的艺术事业。他参与了田汉、欧阳予倩组织的“南国社”，积极倡 导“求美、求善之前先得求真”的“南国精神”。他陆续创作出取材于历史或古代寓言的大幅绘画，这些画作借古喻今，观者从中能够强烈地感受到画家热爱祖国和人民的真挚之情。1931年日军侵华加剧，民族危亡之际，徐悲鸿创作了希望国家重视和招纳人才的国画《九方皋》；1933年创作了油画《徯我后》，表达苦难民众对贤君的渴望 之情；1939年创作《珍妮小姐画像》，为徐悲鸿最著名的油画人物肖像之一，为支持国内抗战而作；1940年完成了国画《愚公移山》，赞誉中国民众坚忍不拔的毅力和夺取抗日最后胜利的顽强意志。除此之外，还创作了《巴人汲水》、《巴之贫妇》等现实题材，《漓江春雨》、《天回山》等山水题材以及大量人物肖像和动物题材的作品。1949年新中国成立后，徐悲鸿在担任政务、行政工作的同时，仍笔耕不辍地进行创作，满腔热情地描绘新中国建设中的新人、新事、新面貌。他为战斗英雄画像，到山东导沭整沂水利工程工地体验生活，为劳模、民工画像，搜集一点一滴反映新中国建设的素材。不幸的是，这一切艺术活动因画家过早地离开人世戛然而止。

旅欧时期
1919～1927年，徐悲鸿初到法国留学时，现代主义诸流派正风靡巴黎，但他遵循导师赠言“勿慕时尚，毋甘小就”，悉心研究欧洲文艺复兴以来的艺术名作，刻苦锤炼绘画技巧。1924年前后，对绘画规律进一步融会贯通，臻于成熟，1926年进入第一个创作高峰，自认此年“吾作最多，且时有精诣”。这个时期的油画创作主要有：《老妇》《持棍老人》《抚描》《自画像》《萧声》《黄震之像》以及《男人体》《女人体》等习作。他留下的近千幅素描，也大部分是这个时期的作品。
盛期
1928～1936年，这一时期，他的创作极丰，形成了明确的现实主义艺术风格，在中国现代绘画史上独树一帜，代表作有《田横五百士》（1928～193O年）《九方皋》（1931年）《徯我后》（1930～1933年）等。这些作品集中体现了他的爱国主义和人道主义创作思想，代表着他一生的主要创作道路。例如《徯我后》，取自《诗经》的“徯我后，后来其苏”之句，意指百姓期待英明君主的解救。画面描绘农村苦旱，一群男女老少在田里仰天而望，期待着甘霖。此画所作年代，正当日本帝国主义入侵东北，中华民族濒于危亡之际，曲折地表现了画家对人民的深切同情和真挚的爱国主义感情。在中国画创作上，这一时期的作品数量多且成就高，画的较多的是马、牛、狮、雀等，造型精练，生动传神。著名作品有《马》《日长如小年》《群牛》《新生命活跃起来》《颟顸》《逆风》《晨曲》等。
抗战时期
1937～1945年，这是徐悲鸿艺术创作的鼎盛时期。先后创作了《风雨鸡鸣》（1937年）、《漓江春雨》（1937年）、《巴人汲水》（1937年）、《群马》（1940年）、《愚公移山》（1940年）、《泰戈尔像》（1940年）、《奔马》（1941年）《灵鹫》（1941年）、《群狮》（1943年）、《山鬼》（1943年）等著名作品。这一时期，也是画家在思想上和艺术风格上高度成熟的时期。“七·七”事变后，国难当头，徐悲鸿“遥看群息动，伫工待奔雷”，以画笔为武器，投入抗日救亡斗争。他画跃起的雄狮、长征的奔马、威武的灵鹫等，表达了对中华民族奋起觉醒的热切期望。他的中国画世作《愚公移山》取材于《列子·汤问》篇中的一个寓言，借以表现中华民族团结一心，坚韧不拔，打败日本侵略者的信念。从悲天悯人到人定胜天，这是徐悲鸿艺术思想的一次升华。画家为创作这幅画准备了多年，画了许多精确的人物素描稿，并曾考虑过用油画或壁画的形式表现。该画在构图和笔墨色彩技法上，利用了中国画线描的表现力，又融汇了素描的造型准确，以前无古人的独创形式表现了主题。
后期
1946～1953年，这一时期，徐悲鸿在美术教育和绘画创作上继续坚持“师法造化，寻求真理”的艺术主张。他从解放区的美术创作中看到了自己过去的不足，勇于接受革命真理，深入人民生活，表现战斗英雄劳动模范和革命领袖人物，为自己开拓了崭新的创作领域。这一时期的主要作品有：油画《战斗英雄》《海军战士》《骑兵英雄邰喜德像》，中国画《奔马》《双鹊》，素描《毛主席在人民中》（画稿）《劳动模范》《鲁迅与瞿秋白》（画稿）等。

擅长素描、油画、中国画。他把西方艺术手法融入到中国画中，创造了新颖而独特的风格。他的素描和油画则渗入了中国画的笔墨韵味。他的创作题材广泛，山水、花鸟、走兽、人物、历史、神话，无不落笔有神，栩栩如生。他的代表作油画《田横五百士》、《徯我后》、中国画《九方皋》、《愚公移山》等巨幅作品，充满了爱国主义情怀和对劳动人民的同情，表现了人民群众坚韧不拔的毅力和威武不屈的精神，表达了对民族危亡的忧愤和对光明解放的向往。他常画的奔马、雄狮、晨鸡等，给人以生机和力量，表现了令人振奋的积极精神。尤其他的奔马，更是驰誉世界，几近成了“现代中国画”的“象征”和“标志”。
1920年发表的《中国画改良论》，是他第一篇论述中国画改良的重要著作。文中提出“古法佳者守之，垂绝者继之，不佳者改之，未足者增之，西方画之可采入者融之”的著名主张，提倡写实，反对抄袭，并提出“改之方法：学习、物质（绘画工具）、破除派别。”1929年发表《惑》《惑之不解》等文，明确倡导现实主义，反对P．塞尚、H．马蒂斯等人的艺术，又认为“美术之大道，在追索自然”。
1932年著《画范·序》，提出“新七法”：①位置得宜，②比例准确，③黑白分明，④动作或姿态天然，⑤轻重和谐，⑥性格毕现，⑦传神阿堵。并指出：“苟有以艺立身之士，吾唯以诚意请彼追寻造化，人固不足师也。”
1942年发表《新艺术运动之回顾与前瞻》一文，论及艺术的美与艺术家的修养：“夫人之追求真理，广博知识，此不必艺术家为然也。唯艺术家为必需如此，故古今中外高贵之艺术家，或穷造化之奇，或探人生究竟，别有会心，便产杰作”，“艺术家应更求广博之知识，以美备其本业，高尚其志趣与澄清其品格”。
1947年先后发表《新国画建立之步骤》《当前中国之艺术问题》等，重申注重素描的严格训练，提倡师法造化，反对模仿古人，指出：“艺术家应与科学家同样有求真的精神”，“若此时再不振奋，起而师法造化，寻求真理，……艺术必亡。”徐悲鸿继承了中国古代画论中关于“师法造化”的优良传统，又强调了艺术家的追求真理、探究人生，见出艺术是真善美的统一，这是他对现实主义美术理论的贡献
。

与人打赌
徐悲鸿先生刚刚去法国留学的时候，开始有一位外国同学瞧不起中国，徐悲鸿先生很义正言辞的对那个学生说：“既然你瞧不起我的国家，那么好，从现在开始，我代表我的国家，你代表你的国家，我们来等到毕业的时候再看。”此后，徐悲鸿先生发愤图强努力练习，钻研绘画。
换伯年画
徐悲鸿一生崇拜任伯年，自说是任伯年“后身”，因任伯年死的那天，正是徐悲鸿出生之日。想不到，任伯年五十六岁去世，徐悲鸿也只活了五十八岁。
徐悲鸿注意收藏任伯年作品，但由于徐悲鸿不愿卖画，生活拮据，见到任伯年画，只能拿自己的画和别人交换。最初，徐画三、四张才换任画一张，后来逐渐减少，到四十年代，一张徐画就能换任画一张。
徐悲鸿为任伯年编写了年谱。他在其中评价道，任伯年绘画最精彩处，在对象嘴和脚的描绘，挺拔而有力。
枯枝朽木
1929年9月，徐悲鸿由蔡元培引荐，就任北平大学艺术学院院长。徐悲鸿转而聘齐白石为教授。当时的北平画坛，死气沉沉，以摹仿古人为能事，保守势力相当顽固。木匠出生的齐白石大胆创新，变革画法，可惜，却得不到多少响应，北平画坛对他一片冷嘲热讽。
当徐悲鸿乘坐四轮马车来到齐家时，齐白石为其诚心而感动：“我一个星塘老屋拿斧子的木匠，怎敢到高等学府当教授呢？”
“你岂止能教授我徐悲鸿的学生，也能教我徐悲鸿本人啊！”徐悲鸿说，“齐先生，我徐某正要借重您这把斧子，来砍砍北平画坛上的枯枝朽木！”

设纪念馆
徐悲鸿纪念馆有两处：一处位于北京市西城区新街口北大街53号，2010年该馆开工再度扩建，新馆预计2013年5月开馆，一处位于宜兴亦园内。北京徐悲鸿纪念馆建立于1954年，它是由中国政府在徐悲鸿故居基础上建立的第一座美术家个人纪念馆。该馆原址在北京市东城区东授禄街16号，周恩来总理亲书“悲鸿故居”匾额。1966年“文革”开始之后，原纪念馆被拆除。1973年，周总理指示重建新馆。宜兴徐悲鸿纪念馆，1988年10月26日开馆。
设立奖项
2003年，为了纪念和弘扬徐悲鸿先生对中国美术事业的巨大贡献，设立了全国书画院系统最高美术奖项“徐悲鸿美术奖”。陈玉先、姚思敏、蔡超等十人为首届获奖的书画家。
设立学院
徐悲鸿先生是中国百年艺术史上“丹青巨擘、教育巨子”，他对中西方的审美和文化差异进行了比较，提倡对民族艺术加以取舍、改良，形成了自己的艺术改良理论：“古法之佳者守之，垂绝者继之，不佳者改之，未足者增之，西方画之可采入者融之。”此思想与本学院教学理念以及教学思想不应而和，徐悲鸿艺术学院创立初衷就是要实现设计与艺术完美结合，培养时代创新人才。国内有两所以徐悲鸿冠名的艺术学院，分别为上海海事大学徐悲鸿艺术学院和中国人民大学徐悲鸿艺术学院。

He has painted since childhood
Xu Beihong was born in a poor family, his childhood with his father Xu Dazhang to learn poetry calligraphy (at the age of 6 with his father read later learn The Four Books and the Five Classics, painting). Born in a family of civilians in the town of Qi Ting Xu Beihong, formerly known as Shou Kang, later renamed the "sad" older". Father Xu Dazhang is a private school, to poetry, calligraphy and painting classes, often invited people to paint, seek to fill the small household. Mother Lu is a simple working woman. The 9 year old Xu Beihong officially from the father of painting, the daily lunch after copying in the late Qing Dynasty famous Wu Youru's paintings, color, color painting and learning skills. At the age of 10, has been able to help his father in the minor part of the screen the fill color colors, but also for the people to write "and Shitai, and" Spring Festival couplets.
Go out to the outside
13 year old father was in the township village, sell the painting for a living from home. Leave the hometown days although hard, but Xu Beihong's rich experience, explore its artistic vision. At the age of 17, Xu Beihong was the most developed business alone to Shanghai to sell paintings for a living, and would like to take the opportunity to learn the western painting, but after a few months because his father was seriously ill and had to return home.
Establish ideas
At the age of 20 came to Shanghai again, in the help of friends, he was admitted to the French Catholic church sponsored Aurora University laid, French foundation for the day after studying in france. It met the painter Zhou Xiang, the famous South of the Five Ridges school representative Gao Qifeng, Gao Jianfu, got approval and guidance in their paintings, enhance the confidence of painting. He also met the reformist leader Kang Youwei, in its influence to establish their creative ideas. In the Kang's "scorn and the influence of the concept of art, respected song", he is not seeking new ideas on heavy ink "and" to be demoted thin, that only the Tang Dynasty Wu Daozi, Yan Liben, Li Sixun, the five generation of the Northern Song Dynasty Huang Quan, Li Cheng, Fan Kuan et al have the profound essence of realistic painting. In support of Kang Youwei, he observes a variety of ancient monument extension, stone Valley "," concentrated copying "Cuan Longyan monument", "stele of Zhang", "Shimen Ming", deep Tangbei essence, calligraphy can grow. After visiting Tokyo to study art in Japan funded, in Japan, Xu Beihong enjoyed the public a lot of treasures Masterpiece Collection, Japanese painter can feel deeply knowing in creation, in the creation of realistic truth, but in the creation of a lack of ink pen rhyme China literati painting, no Yun park by shigeyuki wind.
After returning from Japan, Xu Beihong was employed as the tutor of Peking University. During the period of Beijing, Cai Yuanpei, Chen Shiceng,, and other celebrities from all walks of life met in succession, influenced by the new culture movement thought, and established the thought of democracy and science.
Period of study abroad
1919 went to study in France, was admitted to the Paris national art school to study painting, drawing, and travel in Western Europe, to observe the study of Western art. The Beiyang government funded, 24 year old Xu Beihong went to France to study painting. At the beginning of his visit to Europe, he visited the British Museum, the National Gallery, the Royal College exhibition and the French Museum of the Buddha's palace, witnessed a large number of outstanding works since the renaissance. Xu Beihong felt that they have made in the past China painting "in the hands of non Jing Fang Yi, not moving in the rope, without the habenular difficult to control the horse." Then, he assiduously painting school, and was admitted to the Paris art school, taught by Mr. Flamant G, began to receive formal education in Western painting. Good at historical themes of the Flemish lattice figure painting, the painting is not to detail and pay attention to color collocation and harmonious mutual contrast, has great influence on the formation of Xu Beihong after the style of painting.
Xu Beihong daily with the basics of Western painting, the morning school of Fine Arts in Paris, Syria to Leon Institute of painting modelling afternoon, sometimes also take time to go to watch a variety of exhibitions. During this period, he met the famous painter Coehlo disciple of the masters of the back, every Sunday at Yang carrying painting studio. As "not for fashion, not Yang Gan small" and focus on silent painting art has great influence on the thought of him, so he did not follow the growing prosperity of the modernist style of France at that time, but since we delve into the European Renaissance School of art, in succession the shape characteristics of classical art rigorous perfect at the same time, mastered the skill painting skills. After studying for 4 years, Xu Beihong's painting level has reached comparable with the European artists in the same period, his oil painting old woman was selected for the National Art Exhibition (Salon).
Northern government was suspended because of tuition, Xu Beihong was forced to go to a lower level of consumption in Berlin. Where Xu Beihong still misses every opportunity to learn. He turn to the painter CommScope, to the museum copy of the famous painter Rembrandt painting, and often go to the zoo to draw lions and tigers, horse and other animal, to improve their ability to paint. When Xu Beihong regain funding to study abroad, they immediately returned to France from Germany to continue learning. He seize every inch of time, teachers in a formal and systematic training and his efforts to study diligently, painting level has improved, created a series of portraits, to the human body, the scenery as the theme of the outstanding drawings, paintings, such as "Fu", "stick to the cat like old man", "self the portrait of" etc..

Xu Beihong in the final stage in Europe has also visited the Belgian capital Brussels, Italy, Milan, Florence, Rome and Switzerland etc.. The beautiful scenery of the exotic intoxicated him, European painting masters of the works to his benefit. For 8 years in Europe on his career, plastic life aesthetics, creative ideas and artistic style.
Technology and financial return
Xu Beihong learned at the age of 32 this year to China, began in the country engaged in art education, the development of his art career. He participated in the Tian Han, Ouyang Yuqian in the "Southern Society", advocating "beauty and goodness before seeking" the spirit of South china". He has created a painting based on the history and ancient fable, these paintings by ancient metaphor, from the viewer can strongly feel the artist loves the motherland and the people's sincere feelings. In 1931 the Japanese invasion of China intensified, the occasion of national peril, Xu Beihong wrote to the national attention and recruitment of personnel of Chinese painting "nine party" Gao; in 1933 the creation of a painting "Xi I", expression of desire for a gentleman of the suffering people; in 1939 the creation of "miss Jeanne portrait", as one of the most famous portrait painting Xu Beihong, for the support of domestic war; in 1940 completed the "Chinese painting" Chinese people praise great determination and courage, firm and indomitable perseverance and indomitable will to win the final victory. In addition, the creation of the "Ba", "Ba," poor women reality theme, "Lijiang spring", "the day after" and other landscape theme as well as a large number of portraits and animal themes. The establishment of the new China after 1949, Xu Beihong served as chief administrative work at the same time, still kept on writing, enthusiastically described in the construction of Chinese new people and new things, new look. He is the hero portrait, to guide the whole Yi Shu Shandong water conservancy project site for migrant workers, the experience of life, portraits, collect the construction material to reflect the new China every little bit. Unfortunately, because of all this painter prematurely passed away an art activity.

That period
From 1919 to 1927, Xu Beihong arrived in France, the modernism genre is popular in Paris, but he follows advice "not for instructors are not small, careful study of Gan" European Renaissance art masterpiece, trained painting skills. After 1924, further mastery of painting rules, to mature in 1926 to enter the first creation peak, admission this year "I have made the most, and fine yi". Oil painting of this period are: "the old woman" "to" "Fu" old stick description "self portrait" "Xiao" "yellow" and Zhenzhi like "body man" "woman's body" and other assignments. He left nearly a thousand drawings, mostly works of this period.
Peak period
From 1928 to 1936, during this period, his creation is extremely abundant, forming a clear realistic art style, become an independent school in Chinese modern painting history, the representative of "Tian Heng five hundred +" (1928 ~ 193O) "nine Gao Fang" (1931) Xi "I" (1930 ~ 1933). These works concentrate on his patriotism and humanitarian thought, representing the main creative road of his life. For example, "I Xi", from the "Book of Songs" "I Xi, later the Soviet" sentence, means that people expect the monarch to rescue. The picture depicts a group of rural areas suffer from drought, everyone in the field back and look, look forward to the rain. It's just made, the Japanese imperialist invasion of Northeast China, the Chinese nation is on the brink of crisis, tortuous performance of patriotism painter on people's deep sympathy and sincere. China in painting, the works of this period and a large number of high achievement, painting is more cattle, horses, lions, birds, modelling concise, lively and vivid. The famous works include "Ma" "day long as" small "cattle" "new life" active "Han" "" "wind morning song" etc..
the period of the war of Resistance Against Japan
1937 ~ 1945, this is the heyday of Xu Beihong's artistic creation. Has created a "rain crow" (1937), "Lijiang spring" (1937), "Ba" (1937), "water" Gunma (1940), "(1940), great determination and courage" as "Tagore" (1940), "horse" (1941) "vulture" (1941), "the lion" (1943), "goddess" (1943) and other famous works. This period is also the artist in the ideological and artistic style of highly mature period. July7incident, the Xu Beihong "yaokan interest group, to work at ponley, to brush for weapons, put the Anti Japanese national salvation struggle. He painted a leaping lion, long horse, mighty Gridhrakuta, expression of the aspirations of the Chinese nation to awakening. His painting China lives "" based on "great determination and courage for instance, Tang asked a fable" in the article, in order to show the Chinese nation unite, firm and indomitable faith, to defeat the Japanese invaders. From compassion to man, this is a sublimation of Xu Beihong's artistic thought. The painter prepared for this painting for many years, drawing a lot of precise figures sketch, and had considered painting or murals in the form of performance. The painting in the composition and use of color ink techniques, drawing China painting expressive force, but also a combination of sketch modeling accuracy, without the original form before the theme.
Later stage
From 1946 to 1953, during this period, Xu Beihong continued to adhere to the "learning from nature in art education and painting creation, seek the truth" of artistic ideas. He saw his past deficiencies from Jiefang District art creation, the courage to accept the truth of revolution, into people's lives, performance combat hero model workers and revolutionary leaders, opened up a new field for their creation. The main works of this period are: "oil painting" combat hero "naval fighters" "hero like" Xide Tai, "horse" China painting "double magpie" sketch, "Chairman Mao in the people" (drawings) "model worker" and "Lu Xun and Qu Qiubai" (Draft).

Good at sketch, oil painting, Chinese painting. He incorporated western artistic techniques into Chinese painting, creating a novel and unique style. His sketch and oil painting permeate the Chinese ink and brush. His works cover a wide range of subjects, landscapes, flowers and birds, animals, characters, history, mythology, all to God, true to life. His masterpiece "painting", "Tian Heng five hundred + Xi", I China painting "nine party", "Gao" and other works a great determination and courage, full of patriotism and sympathy for the working people, the people's perseverance and unyielding firm and indomitable spirit of the nation, and the worried and indignant the light of the liberation of desire. He often draw a speeding horse, morning chicken, give a person with vigor and strength, the positive spirit of exciting. Especially the horse is famous in the world, almost as a "modern Chinese painting" "symbol" and "sign".
Published in 1920, "the theory of Chinese painting improvement", is his first treatise on the important works of Chinese painting reform. The ancient Fajia observe this, succeeding the not change, not enough to increase, Western painting recoverable entrant melting "famous proposition, advocating realism against plagiarism, and proposed the" modified method: learning, material (painting tools), get rid of factions." Published in 1929, "confused" puzzled puzzled and other articles, a clear advocate of realism, against P. Cezanne, H. and other artists of the arts, but also that "art Avenue, in the recourse to nature".
In 1932 the "draw van order", put forward the "new seven": the position properly, the accurate proportion, no confusion, the action or attitude of natural, the degree of harmony, the character is completed, and a life like portrait by ink. And pointed out: "if I have to art foundation, we only take their sincerity please pursue good fortune, people also lack of solid division."
1942 published a new art movement of the review and look forward to a paper, the beauty of art and the artist's Cultivation: "the pursuit of the truth of the wife, a wide range of knowledge, this need not artists but also. The only artist needed to do so, so the artist at all times and in all countries noble, or poor nature of Qi, and explore what life, don't have understanding, then "masterpiece", the artist should be more extensive knowledge, making the industry in the United States, its interests and clarify its noble character".
In 1947 published "the establishment of the" new Chinese painting "the art of Chinese steps", reiterated the strict training on sketch, advocating nature, against imitation of the ancients, pointed out: "the artist should also have the spirit of truth and the scientists", "if this is not exciting, and nature, seek the truth,...... Art will perish." Xu Beihong inherited the excellent tradition of "learning from nature" Chinese ancient paintings, emphasize the artist's pursuit of truth, explore life, see art is the unity of beauty, this is his contribution to the realism art theory

Bet on people
When Mr. Xu Beihong just went to France, began to have a foreign students look down on MR Xu Beihong's China, unchastened of the students said: "since you despise my country, so good, from now on, I represent my country, you represent your country, we have to wait until graduation look at." Since then, Mr. Xu Beihong tried to practice painting strive for progress with determination, study.
For primary New Year paintings
Xu Beihong's life is self worship Ren, Ren said, "after" that day because Ren died, Xu Beihong was born. Surprisingly, he died at the age of fifty-six, Xu Beihong was only fifty-eight years old.
Xu Beihong Ren collection works, but because Xu Beihong did not want to sell paintings, living in poverty, see Ren painting, can only take their picture and exchange each other. Initially, Xu painted three or four before changing any painting, and later gradually reduced, by 40s, a Xu painting can change any painting.
Xu Beihong wrote the chronicle as ren. In which he commented, Ren Bonian painting most wonderful, in the description of the object mouth and foot, tall and strong.
Deadwood
In September 1929, Xu Beihong introduced by Cai Yuanpei, became Dean of Peking University Institute of arts. Xu Beihong turned to hire professor Qi Baishi. At the time of the dead, to Beijing painting, imitated the ancient conflict, conservative forces quite stubborn. The carpenter born Qi Baishi bold innovation, change drawing, unfortunately, do not get much response, to taunt him a piece of Peking painting.
When Xu Beihong came to ride four wheeled carriage when Qi Baishi moved in, the sincere: "I am a Xing Tang old axe carpenter, dare to university as a professor?"
"I can teach you more than just a student of Xu Beihong, Xu Beihong himself can teach me ah!" Xu Beihong said, "Mr. Qi, I rely on you to Xu the axe to chop chop Beijing painting on deadwood!"

Memorial Hall
Xu Beihong memorial hall has two: one is located in Beijing City, Xicheng District Xinjiekou North Street, No. 53, 2010 the museum started again expansion, is expected in May 2013 opened a new museum, located in Yixing park. Beijing Xu Beihong memorial hall was founded in, it is the Chinese government on the basis of the former residence of the founding of the first artist's personal memorial hall, founded in the year of the Chinese people's Republic of China, the memorial hall of the people's Republic of China was founded in 1954. The museum site in Beijing city of Dongcheng District East grant Paul Street No. 16, Premier Zhou Enlai Pro Book "Beihong's former residence" board. 1966 after the Cultural Revolution began, the original memorial was demolished. On 1973, Premier Zhou instructed the reconstruction. Yixing Xu Beihong memorial hall, opened in October 26, 1988.
Set up awards
In 2003, to commemorate and carry forward the great contribution of Mr. Xu Beihong to Chinese art career, the establishment of a National Book Award "the highest art academy system Xu Beihong Arts award". Chen Yuxian, Yao Simin, Cai Chao etc. as the first prize of painting and calligraphy.
Set up College
Mr. Xu Beihong is the history of art China hundred years "green giant, education giant", he on the western aesthetic and cultural differences are compared, advocates of national arts to choice, improvement, formed his own theory of art improvement: "ancient law better observe, succeeding the poor change, not enough to increase, western painting recoverable entrant melting." This idea and the college teaching philosophy and teaching ideas should not, and Xu Beihong Art Institute was designed to achieve the original design and art perfect combination, training innovation talents. There are two so Xu Beihong title of the Art Institute, respectively, Shanghai Maritime Univeristy Xu Beihong College of art and the Renmin University of China Xu Beihong School of art.