刘海粟在20世纪中国美术史上占有重要地位,他一贯主张绘画是内心的有感而发。从创作方法上看,刘海粟对东方与西洋的绘画传统兼收并蓄,将再现与表现的创作手法融会贯通。他对传统的继承吸收是“化古为新,师古不泥古”的“扬弃”态度,在这个过程中,刘海粟一方面眼追手摹中国古代文人的精品,一方面集中临习西方大师的经典名作,逐渐打通了不同艺术之间的文化隔阂,在他作品中,国画与油画只是工具材料的不同,而精神理念是一致的;而在对景写生的现场创作中,他往往是从真山实水中获得创作激情,在构图时把自然物象大胆搬移到更合理的位置,然后再依据自己的情感变化主观敷色。在“写形为手段、写神为目的”的创作思想指导下,他把东、西方技法合理互补并相得益彰,总结凝练出创新的途径,最终达到“合中西而创艺术之新纪元”的目的。 Liu Haisu occupies an important position in the history of Chinese art in the 20th century. He always maintains that painting is a matter of innermost feelings. From the creative point of view, Liu Haisu integrated the traditional Eastern and Western painting traditions and integrated the methods of reproduction and performance. His inheritance and absorption into the tradition is an attitude of “abandoning the past as ancient as the new one and learning from ancient times.” In the process, Liu Haisu pursues the masterpieces of ancient Chinese literati in an effort to concentrate on the one hand In the works of masterpieces of Western masters, they gradually opened up the cultural estrangement between different arts. In his works, Chinese painting and oil painting are only different tools and spiritual concepts are the same. In the scene creation of landscape painting, he Often from the real water to obtain creative passion, the composition of the bold move to a more reasonable position of natural objects, and then subjective color change according to their own emotions. Guided by his creative thinking of “writing as a means and writing of God as his purpose,” he made reasonable efforts to complement and complement each other’s East and West techniques, summed up the ways to innovate, and finally achieved a new era of combining art with the West “ ”the goal of.