Lin Fengmian learned traditional Chinese painting techniques from a very young age and sold his first work at just 9 years old. He was in Shanghai in 1918 when he heard about a study program in France, and he hurried there that same year. He became passionate about Western painters, studying first in Dijon and then at the École des Beaux-Arts in Paris. He was in awe of the collections at the Louvre and the Musée Guimet.

His European adventure continued in Berlin in 1923, and the following year, he expressed his desire to blend Western art with Asian art by presenting around forty of his works at the Chinese Exhibition of Ancient and Modern Art in Strasbourg. The painter had found his personal style, his mission as an artist, and returned to China in 1925, where he became president of the National Academy of Arts in Beijing and director of the Academy of Arts in Hangzhou. He continuously questioned himself, simultaneously pondering the future of art in China. He played a crucial role in the development of contemporary Chinese art and became the teacher of some of the 20th century’s greatest artists, such as Zao Wou-Ki and Chu Teh-Chun. Lin Fengmian’s ideas on merging Western and Chinese art were so revolutionary that they led to his persecution during the Cultural Revolution. Indeed, the bright colors of his palette and his sense of composition evoked European Fauvist and Cubist painting. Additionally, he favored the use of a square format rather than the traditional long scrolls of calligraphy.

Chinese art places great importance on empty space, which artists sometimes fill with a poem. Lin Fengmian broke away from this millennia-old tradition, as seen in works like “Reading” and “The Beautiful Musician.” In the former, the artist frames the composition with two black bands on the sides, drawing attention to the model in the center, while in the latter, he propels the musician forward with a tight framing and surrounding foliage. The entire pictorial space is utilized, as in his sublime landscapes, where mountains, trees, and small houses occupy the four corners of the paper.

The Chinese opera, with its flamboyant costumes and expressive gestures, inspired him greatly, as did the colors, dynamism, and energy of the Cubist works he had seen in France. He decided to employ a much more Western palette, which was therefore revolutionary in its color choices. In “Reading,” for example, the bright hues of pink, blue, and white contrast with broad strokes of black, illuminating and bringing the work to life. Lin Fengmian painted without hesitation, with quick and precise strokes, achieving stunning perfection. While the treatment of the subject approaches Western art, the subject itself remains deeply rooted in Chinese tradition.

Our painter remained strongly attached to rice paper and ink, for example. Ink is much more limited than oil paint when it comes to representing colors and textures. However, the brilliant artist managed to vary the thickness of the ink layers, bringing a new dimension, light, and depth to his painting. Moreover, Lin Fengmian’s admiration for the translucent porcelain of the Song Dynasty is visible here in the white silk veil of the two women. The fabric is light, floating, and ethereal, just like the beautiful cotton-like clouds in his landscapes.

Nature is a recurring theme in Chinese painting, and landscape is considered the noblest of subjects. Indeed, mountains and water are said to be the essence of a painting. Notably, the word for landscape in Chinese means “mountain and water.” Lin Fengmian took care to preserve these elements while adding bright, almost vibrant colors, reflecting his enthusiasm for the Western palette. His fabulous landscapes exude a serene and peaceful atmosphere, the result of the artist’s light and poetic touch. By drawing inspiration from both Western art and traditional Chinese art, Lin Fengmian created a unique, recognizable style. Art historians have no trouble agreeing on the genius of this painter and quickly identify him as the father of Chinese modernity.

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