Lou Shibai (June 2, 1918 - December 13, 2010), graduated from the Fine Arts Department of Fu Jen University in 1942, specializing in painting; Vice President, Researcher of China International Academy of Painting and Calligraphy, Consultant of Yanjing Painting and Calligraphy Society, Member of the Beijing Municipal Committee of the Chinese People's Political Consultative Conference; he has comprehensively inherited the characteristics of Qi Baishi's artistic techniques and made some innovations, and there is a sense of vitality in his paintings, especially known for painting ducklings; there are such sayings in the art world: Qi Baishi's shrimp, Xu Beihong's horse, Li Keran's cow, Huangzhou's donkey, Lou Shibai's duckling.
Lou Shibai has a deep understanding of the artistic essence of the old man Baishi, and remembers the teacher's teachings "those who learn from me live, and those who resemble me die", and strive to innovate on the basis of inheritance and inherit in the process of innovation. In the brush and ink techniques and traditional themes of freehand flower and bird painting, such as shrimp, crab, chicken, etc., the space left for future generations to play has been limited, Lou Shibai tried to broaden the subject matter, trying to change the composition, color, light and shadow.
Lou Shibai used watercolor, gouache paint and Chinese painting pigments together, enriching the color of Chinese painting and enhancing the texture of the expressive object;
Lou Shibai's works are full of health, joy, harmony, stubbornness, self-sufficiency and vigorous vitality. As a master of Chinese painting rooted in tradition and learning from the law, he deeply realized Qi Baishi's truth that "painting is wonderful between the similar and the unlike, too similar to kitsch, not like to deceive the world", and his paintings are based on literati painting, absorbing the tradition of folk art, and injecting vigorous vitality into flower and bird painting.
Lou Shibai seems to have provided us with a lot of useful inspiration for the teaching methods of Chinese painting, the inheritance and development of Chinese painting art, as well as the ideological and social aspects of art, and the pure teaching of Wang Mi'er, a disciple who entered the room.