Paintings created by He Xiangning (1878-1972) and Chen Shuren (1884-1948) are on display at two exhibitions at the He Xiangning Art Museum. One focuses on the landscape paintings of the two masters, while another features Chen’s flower-and-bird paintings, landscapes, figure paintings, and calligraphy.

“These exhibitions not only revisit the artistic careers of the two masters but also reflect the ‘new landscape painting’ and the innovative spirit of Lingnan art,” said Cai Xianliang, director of the He Xiangning Art Museum.

“He’s landscape paintings are grand and powerful, whereas Chen’s are fresh and elegant. Both artists integrated narratives of homeland and reflections of their era into traditional brush and ink techniques, offering vital inspiration for the modern transformation of Chinese painting,” Cai added.

“The majestic power of He’s works and the refined elegance of Chen’s outline the diverse features of Lingnan art. We can sense the innovative energy in the works of these two masters. Chen, a founder of the Lingnan school, and He, a prominent 20th-century artist, inspire us to reflect on the relationship between art and individuals,” said Li Lina, deputy director of Guangzhou Museum of Art, a collaborating institution for the exhibitions.

“Both He and Chen received formal artistic training in Japan in the early 1900s, where they were influenced by the fusion of Japanese and Western art traditions. By examining the landscape works of these two masters, we can trace their innovations in style and theme within the landscape genre,” said curator Yi Donghua.

“Both artists were also visionary intellectuals engaged in social activities, embedding their work within the context of ‘revolution’ — a term encompassing political transformation as well as aesthetic rebellion,” Yi added.

“Their distinct artistic styles reflect different interpretations of the ‘new landscape painting,’ which combined classical conventions with naturalistic observation and Western-inspired effects of light. Their landscapes convey metaphors of reclusion, wandering, homeland nostalgia, and national consciousness,” said Yi.

Dates: Through July 13

Venue: He Xiangning Art Museum, Nanshan District (何香凝美术馆)

Metro: Line 1 to OCT Station (华侨城站), Exit C