1939年，关山月以《渔民之劫》等作品参加了在苏联举办的中国美术展览。同年秋至1940年春，他首次于澳门、香港及湛江举办个人画展，以后 他自广东出发，经广西、贵州、云南、四川、甘肃、青海、陕西等省区，深入生活，收集素材，边写生，边创作，并沿途举办个人画展，以卖画保持 生活和筹措资金，他在敦煌石窟临摹过壁画，研习传统艺术。此次旅行写生，为他后来的艺术成就奠定了坚实基础。
1947年作南洋之行，关山月前后 在泰国、马来西亚和新加坡等地旅行写生，作品描绘热带风光，并举办个人画展，受到华侨的欢迎。翌年又在香港、上海、南京举办东北 、东南 及南洋旅行写生画展，并出版《关山月纪游画集》（2辑）。
关山月在艺术上坚持岭南画派的革新主张，寻求 画面的时代感和生活气息；他的山水画立意高远，境界恢宏；他的梅花，枝干如铁，繁花似火，雄壮 厚重，清丽秀逸。他前后 出版有《关山月画集》、《关山月、傅抱石东北写生选》、《关山月作品选》、《井冈山》等作品。
关山月是20世纪后半叶中国画坛上的主流画家之1 ，他的绘画艺术同中国美术的发展是同步的。关山月绘画艺术的整体 特点与20世纪后期中国美术的基本特点是分歧 的。
这类 分歧 性集中地表现为理想 主义创作思想和不断地创新精神。
第1 阶段，是从30年代末到40年代末。从这1 时期的作品中可以看出，关山月继承了中国写意画中水墨为主与古代壁画中人物画的方法，同时明显地吸引了西画的写实手法。
例如，在1939年创作的《拾薪》中器具的外型 与景物的空间关系，《玫瑰》1 画中对提篮和玫瑰花的形体塑造，都比较写实。在1940年所在地画的《侵略者的下场》中，树干与线杆都用明暗法画出，以表现其体积感。
40年代所画的《嘉陵江码头》、《岷江之秋》、《黄河冰封》及《祁连放牧》等表现场影的作品中，都以焦点透视，形成 了较强的空间真实感。这1 时期的作品与后来比拟 ，写实性强，较重视 形体刻画，而不太强调传统笔墨趣味。
第二个阶段，包括50年代到70年代的约30年间。关山月在这1 时期的创作取得了丰硕的成果。画家以饱满的热情，用中国画的艺术情势 描绘了广大人民进行社会主义建设的理想 生活。他的作品表现了钢铁厂建设、堵海工地、煤都、水库、水电站等热火朝天的建设场景，还表现了幼儿园、渡口、纺线和 山村的各种农作劳动和农家活动。作品充满了浓厚的生活气息和地区色彩。需求 特别提到的是画家使1 些山水画、花鸟画也具有了较强的社会主义时代感和精神内涵。如《快马加鞭未下鞍》表现我军骑兵部队的勇敢 迅猛，《春到雁门》表现了北方农民的辛劳 劳作和生活的改善，都是以山水画表现较强社会内容的代表性作品。
至于《俏不争春》则是以花鸟画表达热情、活力等精神力量的范例。这些作品是反映1 个时代风貌的代表性作品。关山月在这阶段还保持着写实的风格，同时加强了笔墨的表现力和对作品内涵意蕴的扩展和深化。画面比之前 更为丰富、厚重，1 些作品使用了鲜明的色彩。
从80年代至今是关山月艺术发展的第三个阶段。画家在前1 阶段基础上，进1 步添加 了笔墨、意境等中国画传统在作品中的万分。画家没有放弃写实性，但明显地从传统中汲取了更多的养分 。画家用笔更加泼辣、奔放、恣肆，1 些画面处理较为简练、概括，另1 些画面又显得丰富、蕴藉。在《山泉水清》、《巨榕红棉赞》、《乡土情》等巨幅作品中，全体 气势恢弘，细部耐人寻味，有较强的感染力，可谓神完气足。
如果我们把1991年创作的《漓江万里春》与50年前所画的《漓江万里图》比拟 较，可以清楚地看出，画家对“形”的关注转向对“神”的关注，前者的笔墨意趣也大为加强。这1 时期创作的《荔枝图》、《天香
赞》等花鸟画作品也比之前 简练，笔墨更为精妙，意蕴更为幽邃 。通过关山月的绘画艺术，似可归纳为如下几个次要 的特色：首先，关山月的中国画表现火热的理想 生活，作品中饱含着作者的激情和浓厚的生活气息。他的作品特别是第二阶段的作品，体现了毛泽东在《讲话》中所提出的为人民大众所创作和所爱好 的精神，他的作品具有较强的理想 主义精神，因此 也体现了鲜明的时代精神。
他以山水画、花鸟画表现较强的社会意义和精神内涵，是对传统中国画的拓展，使中国画在新的时代更具丰富的表现力。在20世纪中国画整体 的创新与发展中，关山月以半个多世纪孳孳 不倦的探索和所取得的突出的艺术成就成为不可缺少的人物。
二是促成广东1 系列展馆的建设。此前，广东无1 岭南画派纪念馆，关山月与黎雄才二老合力，前后 促成了岭南画派纪念馆、高剑父纪念馆、陈树人纪念馆、十香园
1965年，“文艺整风”和“四清”开展，岭南画派因其创始人高剑父、陈树人曾为国民党元老，蒙受 批判，关山月已无创作。 翌年起，“文革”浩劫，关山月成了“反动学术权威”：他画的《悬梅》有梅枝向下，被诬为攻击社会主义中国“倒霉”；《东风》中三只燕子逆风而飞，为“反骨毕露”；有人更是找出了竹画中的“介”，解读成“蒋介石”…… 关山月被安排住进了广州美术学院的猪栏。后又下放到三水等干校，改造5年。
与其1 同下放的先生 陈金章后再追思 ：“到处都有人监视着，谈(画)都不敢谈……”他记得，老师是“获政策照顾”，被安排到田间放牛。 不过，女儿关怡提起此事，却大鸣?a href=https://www.meishu.com/baike/1/2/4215.html target=_blank class=infotextkey>黄剑?ldquo;‘照顾’其实是将他和大众隔离开来，单独批斗，更为屈辱……”
关怡称，父亲甚少在公众场合提及此段遭受 ，并吩咐 女儿和先生 也不要提起。但“文革”结束后的最后 几年，关山月再画梅花，便都是“枝枝向上”。
1945年，他到成都举办画展，还未结束，却被逼收展场租金，气愤难当。正巧画展的第1 天，张大千第1 个到展场看画，当面就问关山月，哪张画定价最高，他要买下。并立刻吩咐同来的人交了现款，买下了1 张峨眉山写生画。价钱已足够关山月数月的开支。
最后 的选址是风景恼人 的流花湖边。不过，在广州美术学院教学、生活了半个多世纪，关山月坚持留在了学校内。
20多年过去，楼房的外墙已 斑驳。推门而入，二楼的画室里2米多高的画板还竖立在墙上，关老当年留下的墨迹斑斑……关怡称，还经常有先生 入门探访凭吊。
GuanShanYue (1912.10.25 - 2000.07.03), formerly known as Guan Zepei, was born in 1912 in Guangdong, Yangjiang. Famous painter and educator. South of the Five Ridges school representatives. Apprentice "Gao South of the Five Ridges school". In 1948, Guangzhou City College professor. After 1958, served as professor and Dean of Guangzhou Acmdemy of Fine Arts, President of the Guangdong School of art, Guangdong art academy and other staff. Executive vice president, Chinese Artists Association, vice chairman of the Guangdong Provincial Federation, vice chairman of Guangdong artists association.
GuanShanYue is one of the main painters in the second half of the twentieth Century Chinese painting, his painting art development with Chinese art is synchronized. The basic characteristics of the general characteristics and GuanShanYue art of painting art in late twentieth Century Chinese is consistent.
This consistency is reflected in the creative thinking and innovative spirit.
We can roughly be studied from three stages of GuanShanYue art.
The first stage is from the end of 30s to the end of 40s. From this period can be seen in the works, GuanShanYue inherited China freehand painting ink and method of painting in ancient paintings, and obviously attracted western realism.
For example, in spatial relation modeling and scene in 1939 the creation of "pick up" pay in appliances, "Rose" in a basket of roses and shape, are more realistic. In the fate of the invaders in 1940, the trunk and the line poles are painted in the light and shade to show their sense of volume.
40s painting "the Jialing River, Minjiang River pier" "autumn", "the Yellow River" and "Qilian" frozen grazing table scene shadow works, in perspective, caused a strong spatial sense of reality. The works of this period are compared with the later, more realistic, more emphasis on physical characterization, but not too much emphasis on traditional ink taste.
The second stage, including about 30 years from 70s to 50s. GuanShanYue has achieved fruitful results in the creation of this period. With full enthusiasm, the artist depicts the real life of the people in socialist construction with the art form of Chinese painting. His works show the iron and steel plant construction, construction sites, coal reservoir, blocking the sea and hydropower stations to be in full swing construction scene, but also the performance of the kindergarten, ferry, village farming and spinning various labor and farm activities. The work is full of strong flavor of life and regional color. Special mention is needed to make some landscape painting, flower and bird painting also has a strong sense of the times and spiritual connotation of the socialist. Such as "saddle" show me not at top speed in the cavalry heroic rapidly, "spring" to the North Yanmen farmers toil and the improvement of living standards, are representative of the strong performance of social content to landscape painting works.
As for the "Qiao indisputable spring" is to express the vitality, passion flower and bird painting as an example of the power of spirit. These works are representative works which reflect the style and features of the times. GuanShanYue is realistic style in this stage, expand and deepen and strengthen the ink expressive force and the connotation of the works. The picture is more abundant than before, thick, some works use the bright color.
Since 80s is the third stage GuanShanYue art development. On the basis of the previous stage, the artist has further increased the ink, artistic conception and other traditional Chinese painting in the works. The artist did not give up the realism, but obviously drew more nutrition from the tradition. The painter pen is more bold and unrestrained, unrestrained, some image processing more concise and general, the other side of the picture is rich and refined. In the "spring water", "praise", "giant banyan tree roots" huge works, the overall momentum, detail intriguing, have the strong appeal, is full of spirit and energy.
If we take the 1991 creation of "Lijiang wanlichun" and painted 50 years ago "Lijiang miles map" by comparison, we can clearly see that the artist's attention to the "form" to "God" on the ink interest is also strengthened. During this period, the creation of "lychee", "fantasy
Such praise "flower and bird painting than the previous text concise, more delicate, more deep meaning. By GuanShanYue art of painting, it can be divided into the following several main characteristics: first, the Chinese GuanShanYue paintings fiery reality, works with the author's passion and deep breath of life. His works especially the second stage works, reflects the Mao Zedong in the "speech" proposed for the masses of the people and love the spirit of creation, his works have a strong spirit of realism, which also reflects the distinctive spirit of the times.
Secondly, GuanShanYue into components in Chinese realistic painting, his works most of them have different sense of reality, which is the inheritance and development of the south of the Five Ridges School of art.
Third, GuanShanYue in the landscape, flowers and birds characters are especially good at landscape.
His landscape painting, flower and bird paintings show a strong social and spiritual connotation, is the expansion of traditional Chinese painting, Chinese painting in the new era is more expressive. In twentieth Century Chinese painting overall innovation and development, GuanShanYue to more than half a century of exploration diligently and achieved outstanding artistic achievement has become an indispensable figure.
Speaking of Guangzhou, Guangdong GuanShanYue influence, south of the Five Ridges painter, deputy director of Guangzhou Research Institute of culture and history, Lu Yanguang considered three aspects: the most prominent is the highlight of Guangdong art, the influence of the south of the Five Ridges school.
In 1959, Fu Baoshi and GuanShanYue cooperation "land so", to further expand the south of the Five Ridges School of fine art in Guangdong and its influence in the country, let Guangdong art and Beijing, Zhejiang and Jiangsu into a situation of tripartite confrontation trend.
Two is to promote the construction of a series of Guangdong exhibition hall. Previously, Guangdong a school of South of the Five Ridges memorial hall, GuanShanYue and Li Xiongcai Chou force, has contributed to the school of South of the Five Ridges memorial hall, Jianfu memorial hall, Chen Shuren memorial hall, ten fragrant garden
The completion of a total of 4 major pavilions. Financing difficulties, GuanShanYue has repeatedly led donated paintings, called on all parties to donate.
In addition, the Guangdong Museum of fine art, the Shanyue Museum 10 hall of fame, GuanShanYue for its donation of more than and 150 paintings. In the national first-class Guangdong Art Museum, the mountain also contributed to the credit.
The three is the influence of art education in Guangdong and Guangzhou. In 1946, GuanShanYue returned to Guangzhou to teach, founded on the basis of the Jianfu sleep Garden South School of Fine Arts in the original spring. He served as the Guangzhou Municipal Art Director and professor in the Department of painting China turn. Since 1958, as a professor, vice president of Guangzhou Acmdemy of Fine Arts, and director of the Department of Chinese painting. He served as president of Guangdong Painting Academy.
More than half a century, GuanShanYue are in charge of Guangzhou, cultivate a Chen Jinzhang, Lin Yong, Shi Zhengxue, Wu Zehao and three generation descendant of the south of the Five Ridges school.
The Cultural Revolution years
In 1965, the "rectification" and "the south of the Five Ridges school" to carry out, because of its founder Gao Jianfu Chen Shuren Ceng Wei, the KMT elder, suffered criticism, has no GuanShanYue creation. The following year, the "Cultural Revolution" the Holocaust, GuanShanYue became "reactionary academic authority": he painted "plum" plum branches hanging down, has been accused of attacking the socialist China "bad luck"; "Dongfeng" in the three wind and flying, "Fangu."; someone is found in the painting of bamboo the "medium", interpreted as "Jiang Jieshi"...... GuanShanYue was admitted to the Guangzhou Acmdemy of Fine Arts pigsty. And then to Sanshui etc. the cadre, the transformation of 5 years.
Together with his student Chen Jinzhang later recalled: "there are people everywhere monitoring, talk about (painting) are not dare to talk about......" He remembered, the teacher is "policy of care", was assigned to the field of cattle. However, her daughter Guan Yi mention, but big grievance: "take care of him and the public" is actually isolated, separate criticism, more humiliation......"
According to reports, head of the nose, aggressive bull was let GuanShanYue unattended, fundamental cordless pull. The task force and the other under the rules: every night must be brought back to the bulls on time; if the bull and other cattle fight, or step on the river, will be regarded as a "political error".
Until 1971, the "Cultural Exchange Association", is responsible for Miyakawa Toraxiong visit China, pro to Premier Zhou Enlai asked: "GuanShanYue, alive or not?" GuanShanYue was recalled to Guangzhou, and the Japanese scholar exchange, brush again.
Guan Yi said that his father was rarely mentioned in public this section of the encounter, and asked her daughter and students do not mention. But the "Cultural Revolution" after the end of the first few years, GuanShanYue painting plum, they are "ulterior motives to".
He bought the painting
In 1945, he went to the exhibition held in Chengdu, is not the end, but was forced to close the exhibition rent, angry man. The first day of the exhibition was the first to see the exhibition, Zhang Daqian painting, personally asked GuanShanYue, which picture is the highest priced, he wants to buy. And immediately ordered the men to pay cash, bought a sketch of Mount Emei. The price has been enough GuanShanYue months of expenses.
Zhang Daqian's red paper is hung on the painting. Soon, many do not understand art buyers also have to approach the works of GuanShanYue, panic buying.
The spring of 1983, the United States of Houston Baylor College of Medicine professor Lin Wenjie to Guangzhou, to Taiwan to visit his. He transferred his support GuanShanYue plum greeting cards to Zhang Daqian, which also wrote a few words to evergreen art.
However, less than 100 days, Zhang Daqian died, GuanShanYue poetry of mourning: "Su Dunhuang edge, two new lead. Shou Zhitian jealous beauty, across Zhang Yuan cry."
Guangzhou Acmdemy of Fine Arts, two height Chang Gang Road No. 257 courtyard is GuanShanYue residence. The daughter of Guan Yi, this small building is the Guangdong provincial government is close to the old built, before his death in July 2000, GuanShanYue lived here for 20 years.
The original location is the pleasant scenery of the Liuhua lake. However, in Guangzhou Acmdemy of Fine Arts teaching, life for more than half a century, GuanShanYue insisted on staying in school.
20 years in the past, the building's exterior walls have mottled. Push the door, the two floor of the studio 2 meter high board also erected on the wall, off the old year left the ink spots...... Guan Yi said, often have the students visited the memorial entry.
However, in 2006, Guangzhou metro line two and line eight intersection station building, former residence but narrowly escaped demolition; more than 10 deputies and Cantonese Opera "to call on, when he was party secretary of Guangzhou Zhu Xiaodan special instructions, to keep the house.