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中国美术在1937年抗日战争以前,就其主流而言,基本是象牙塔似的贵族艺术或文人画阴影中的遗老艺术。前者所关注的对象大多是画室中的人体、肖像、静物或郊外的湖光山色;后者则在案头上重复着古人的花鸟虫鱼或笔墨沟壑。虽然,二三十年代的画家也有强烈作画的真情实感,也要求画出真实的人生、真实的情感和真实的心声,但其所思考所表现的终究是知识阶层的生活状态和情感范围,很难与社会现实发生关系,显然当时的画家更多
Before the Anti-Japanese War in 1937, Chinese art was, by its very nature, basically an old art in the shadow of aristocratic or literati painting like an ivory tower. Most of the objects of the former concern are human bodies, portraits, still life in the studio, or lakes and mountains in the suburbs; the latter repeats the ancients’ flowers, birds and worms or pen and ink in the desk. Although the painters of the 1920s and 1930s also had the true feelings of a strong painting, they also demanded to draw out real life, true feelings and true feelings. However, what they thought and practiced was, after all, the life status and emotional scope of the intellectual class. Difficult to social relations, obviously more artists at the time