About Qin Xuanfu

Qin Xuanfu (1906-1998) was a famous painter, fine art historian and educator in China. Born in Guilin, Guangxi, he graduated from Tsinghua University in 1929. From 1930-1934, he studied painting and art history at the French National School of Fine Arts (Lucien Simon’s studio), the École du Louvre, and the Institute of Art and Archeology of the University of Paris. He traveled to Great Britain, Spain, Italy and Germany to see famous Western paintings and conducted research in Western fine arts history. In 1933, he helped found the Chinese Students Art Association in France. After returning to China in 1934, he became a professor of Western oil painting and Western fine arts history at Peiping Art College, Tsinghua University, National Academy of Arts, and the Art Department of China Central University. In 1936 he became editor of the Art Weekly section of Tianjin Ta Kung Daily News. In 1941 he became a specialist member of the Committee of Art Education under the Ministry of Education of the National Government. In 1952, Qin Xuanfu was made professor of oil painting and Western fine arts history in the Fine Arts Department of Nanjing Normal University and later became Dean of the department. In addition to teaching, Qin Xuanfu also served additional roles including vice chairman of the China Fine Arts Education School, director of the China Artists Association, vice president of the Jiangsu Artists Association, and editorial board of the Ci Hai and Chinese Encyclopedia.

Qin Xuanfu was one of the pioneers of Chinese oil painting. He created many paintings depicting daily life and nature, following his lifelong motto of “hold onto life, embrace nature.” His studies at Tsinghua University and in France, along with his extensive research in Europe, provided a solid foundation for his deep understanding of art theory, profound aesthetic cultivation, and proficient painting techniques. Mr. Xu Beihong spoke highly of Qin Xuanfu's paintings, dubbing his works “Paintings of scholars.” Mr. Fu Baoshi also praised Qin Xuanfu's work, describing him as “A master of painting as a result of wide reading and exceptionally talented.” Fu continued to say, “His works are very unique, and only Qin Xuanfu could create such paintings.” Qin's works are full of charm, with a strong personal touch and unique style. His early works are simple and rigorous, largely influenced by classical European paintings and display his solid technique and skill. Many of his works also reflect the influence of Impressionism. After the founding of the People's Republic of China, Qin Xuanfu enthusiastically threw himself into depictions of the new life of the Chinese people. Contrary to the gray tone of the Russian style popular in China at that time, Qin Xuanfu adopted Impressionist techniques and painted with unrestrained strokes, strong, passionate, bold style and bright colors to create feelings of romance, freedom, vigor, and majestic beauty. His personal style took shape especially after the Cultural Revolution, and the combination of Impressionism and traditional Chinese freestyle was obvious in his works of this later period, which are marked by bright colors and bold, gorgeous flowing strokes. His brushes moved where his mind went and his works were reflections of his thoughts and soul as he reached a new kind of artistic aesthetic. 

Qin Xuanfu's art is extremely charming, and is known in the painting world for his strong personality and unique style. The oil painting Portrait of Madam Kapanzie created while studying in France was selected into the Paris Spring Salon in 1933. While Merry Go-Round and The Court Lady were exhibited at the French Independent Salon (Salon des Independents) in 1934. As early as 1941, Qin Xuanfu held a joint exhibition with Wu Zuoren, Tang Yihe, Lü Xiaguang, Huang Xianzhi, Lü Sibai, Li Ruinian and Wang Linyi. In 1942, his oil painting Mother’s Teaching was exhibited at the Third National Painting Exhibition and won second prize. In 1946, he held another joint exhibition with Xu Beihong, Chen Zhifo, Fu Baoshi and Lü Sibai. After the founding of the People’s Republic of China in 1949, Qin Xuanfu’s oil paintings Little Qingdao, Lotus Harvest and Red Scarf were showcased in the first three annual national painting exhibitions. His oil paintings The Court Lady and Qingdao were selected for exhibition at the “Exhibition of China Oil Paintings of the 20th Century.” His oil paintings Mother’s Teachings, The Court Lady, Carmen, Chongqing Snow, Kelp Girl and Shanghai Dock were published in the “Collection of Chinese Oil Paintings of the 20th Century (Vols. 1-2).” His oil painting National Day Celebration won second prize at Jiangsu's First Art Exhibition. Qin Xuanfu held five solo exhibitions in 1942, 1963, 1985, 1987 (in Minnesota, USA) and 1995. A collection of works were published in “Qin Xuanfu’s Painting Collection.” His oil paintings, Carmen, National Day Celebration, Watch Fish from Flower Port, Vice Chairman Zhou Enlai Helps Me to Mount a Horse, Chairman Hua’s Heart is Connected with Ours, and gouache, Self Portrait, are in the permanent collection of the Jiangsu Provincial Art Museum. Additionally his oil paintings Airforce History, Railway Fight, Fierce Battle in Seng Ge Lin Qin, Spring of Yuhuatai, Future of New China, Portrait of Wu Zuoren, and Chrysanthemum Flower and Crab, are now in the permanent collections of the Chinese National Military Museum, Erqi Memorial Tower, Nanjing Museum, Yuhuatai Martyrs Memorial Museum, Nanjing Municipal Committee of China Youth league, and the Fine Arts Department of Nanjing Normal University.

Qin Xuanfu was also an outstanding art historian and art educator in China. Mr. Xu Beihong praised, “Although Xuanfu is famous as a great painter, he is also our country's most remarkable historian of Western Fine Arts.” Besides his study in France, Qin also conducted wide research in other European countries. After his return to China, Qin Xuanfu not only taught oil painting in art academies, but also taught Western fine arts history and conducted further research into Western fine arts history. He published many influential essays and commentaries in the 1930s and 1940s. For example, in 1933 he collaborated with Mr. Li Jianwu to write a commentary on “Chinese Painting Exhibition in Paris,” which generated heated discussions after its publication in the magazine Literature (Volume 1, No.5). This article was quoted later on April 19, 1939 by the Singapore Daily Morning Star. The essay “Reflections on How We Should See Chinese Paintings” was published originally in the Art Weekly section of Tianjin Ta Kung Daily News in 1934, and included in the Chinese Art Yearbook in 1947. The essay “About the Last Supper” was published in the 363rd issue of Ta Kung Daily News in 1936. The essay “Do We need Western Paintings?” was included in the special publication of the Second Painting Exhibition of the Ministry of Education in 1937, and it was specially recommended by Teng Gu, Editor-in-Chief and Principal of the National Art School. 

In the last few decades Professor Qin Xuanfu was very popular among students through his teaching of Western Fine Arts History, based on his solid theoretical knowledge, deep understanding, wide experience and unique opinions. Mr. Wu Jiafeng, a historian and art critic at the Research Institute of the Chinese Art Academy was quoted (in Get to Know Western Art Again, published by the Publishing House of China Federation of Literature and Art Circles, 1988) saying: “I have seen the lecture notes that Xuanfu compiled on his own, which are hundreds of thousands of words long. They include very rich, accurate information, and have his unique comments and insights. It's a pity they have not been published yet." For 16 years, since 1963, Qin Xuanfu served on the editorial board of the Ci Hai Encyclopedia, during which he presided over and provided accurate reference materials for the compilations of numerous foreign art histories. 

Professor Qin Xuanfu devoted his whole life to art education in China and dedicated himself to teaching fine arts, oil painting, sketching and the history of Western fine arts. He worked conscientiously and always endeavored to do still better. He was a very rigorous scholar with achievements to his name. He taught many people who later excelled in the fields of fine art and education. Qin Xuanfu's career pioneering development of Chinese oil painting, outstanding research on art history and theory, and excellent contributions to the Chinese art education cause are worth remembering forever.