陈佩秋，1922年12月生，女，河南南阳人。字健碧，室名秋兰室、高华阁、截玉轩。 国立艺术专科学校毕业 。上海大学美术学院兼职教授，上海中国画院画师 。中国美术家协会会员 。擅长中国画 。作品有《天目山杜鹃》；《水佩风裳》入选第三届全国美展；《红满枝头》入选第六届全国美展优秀作品展 。印鉴：陈、陈氏、陈佩秋、陈佩秋印、佩秋、健碧、秋兰、秋兰室、秋蕊香室、颖川、颖川郡、大乐、终年 、舞绝、长舞。

 1923年，陈佩秋出生于河南南阳，于昆明度过她的青少年时期。她年幼时已爱好艺术，学习成绩优良 ，尤精于数学科。她成擅长 动荡不安的时局，高中毕业时适逢抗日和平 ，为了呼应 "科技救国"的呼唤，于1942年入东北 联大。基于对艺术的热忱始终未灭，陈氏决意转读艺术，并于1944年考入重庆国立艺术专科学校。

当时在国立艺专的先生 均对东方 艺术非常向往，憧憬着东方 的写实主义为中国将来 艺术发展的独一 途径。然而，陈佩秋却不为同辈所影响，她早已醉心于传统的中国绘画，专注于研究 古代大师的艺术，并深信前人的艺术能启发她的艺术创作。

陈佩秋在国立艺专攻读时期，潘天寿及黄宾虹均是校内院系的教员，她得以随潘天寿学习花鸟画。然而，她认为宋代是中国艺术发展的巅峰时期，故决心仿效前人步履并跟随 古代大师之艺术路向。她由宋代花鸟及山水画开始，不管 是工笔或写意的风格皆仔细 探究。

1950年毕业后，陈佩秋开始在上海市文物管理委员会工作。当时的工作给予她大量机会浏览古代画作，甚至可以借出宋代的花鸟扇画以便临摹。《花鸟杂册》展示 了陈佩秋精于宋代工笔花鸟画的技法，而当中所画的都是宋画中常见的题材。

在用心揣摩了工笔技巧后，陈佩秋转向探究较为粗放、写意的风格。普通 来说，画家的情感和精神较能以写意画法表白及发放出来。她汲取明代徐渭概括简约的外型 与富于情感的水墨应用 技巧。

数年后，她的泼墨技巧配合了新的技巧组合，她以生动的笔触和泼墨去描写大自然的每1 景物，而最成功的地方 莫过于她能够混合工笔和写意的技法，令作品更呈儒雅优美。

陈佩秋在中国改革开放后，对周遭的新事情有了新的观察和感应。除了照旧 坚持临摹古画，她开始关注东方 的艺术。陈佩秋不断地改变本身 的风格，她欣赏马奈、雷诺阿及德加闪烁的色彩 和精炼明确的笔触，并参照了印象派的用色于中国传统画上。在陈佩秋成熟时期的作品中，东方 艺术带来的影响益发明显见于山水画和用色方面。

陈佩秋认为艺术创造贵乎“新”和“难”。她本身的艺术根基立足于传统，她对创新的观念是绝对 而言的――没有旧就没有新。她仔细 研究 国画的绘画元素，用精炼的线条和传统的笔墨，配合启发自东方 绘画的色彩应用 去描绘景象的质感、体积和动感。她认为“新”是要经过知识和技巧的累积，而经验的累积和驾驭技巧是费时费力的，这曲折艰难的过程就是“难”。

作为1 个传统中国画的继承者，她赋予本身 1 个使命――对传统国画在古代 艺术发展的贡献作重新的定位。

 Chen Peiqiu, born in December 1922, female, Nanyang, Henan. The word Jian Bi, these names, the two, Jie Yuxuan during the autumn. National Academy of arts. Adjunct professor of Shanghai Univer of Academy of Fine Arts, Shanghai China painting artist. Member of Chinese artists association. Good at Chinese painting. Works of "TIANMU MOUNTAIN RHODODENDRON"; "lotus leaves and flowers" selected for the third national art exhibition; "red leaves" selected the sixth national excellent works exhibition. Chen, Chen, Chen Peiqiu, seal, Chen Peiqiu, India, Jian Bi, Pelosi autumn autumn autumn autumn orchid, orchid, pistil incense room, Sichuan, Ying Ying Chuan County, music, dance, dance for many years, the vast long.

In 1923, Chen Peiqiu was born in Nanyang, Henan, Kunming, spent her adolescent period. When she was young has been fond of art, excellent grades, especially in mathematics. She grew up in the turbulent times, when he graduated from high school with the Anti Japanese War, in response to the "technology to save" call, in 1942 into the southwest. Enthusiasm for art has not destroyed on Chen to transfer to art, and in 1944 was admitted to the Chongqing national art college.

At the national art college students of Western art very yearning, longing for the western realism, the only way for the development of future art China. However, Chen Peiqiu is not influenced by peers, she was obsessed with the traditional painting Chinese, focus on studying the ancient masters of art, and that the previous art inspired her art.

Chen Peiqiu in the National Arts specializing in reading period, Pan Tianshou and Huang Binhong are the Faculty of the faculty, she was able to study with Pan Tianshou flower and bird painting. However, she believes that the Song Dynasty is the peak period of the development of Chinese art, so we are determined to follow the previous steps and follow the path of the art of the ancient masters. She started from the Song Dynasty flower and bird and landscape painting, whether it is the style of fine brushwork or freehand brushwork are carefully explore.

After graduating in 1950, Chen Peiqiu began working in the Shanghai municipal heritage management committee. At the time of the work to give her plenty of opportunities to browse the ancient paintings, even the Song Dynasty flower and bird painting fan can be lent to copy. The "bird book" shows Chen Peiqiu in the miscellaneous Song Dynasty flower and bird painting techniques, and the picture is the common theme of Song Huazhong.

In the skills of meticulous ponder, Chen Peiqiu turned to explore more extensive, freehand style. Generally speaking, the painter's emotion and spirit can be expressed by freehand brushwork. She learned from the Ming Dynasty Xu Wei summary of the simple form of the use of emotion and emotional skills.

A few years later, her skills with a new technique of ink combination, with her lively pen and ink to describe the nature of each scene, and the most successful place than she can be mixed and freehand brushwork in traditional Chinese painting techniques, make the works more refined is beautiful.

Chen Peiqiu after China's reform and opening up, the new things around you have a new observation and induction. In addition still insist on copying ancient paintings, she began to focus on Western art. Chen Peiqiu constantly changed his style, she admired Renoir, Manet and Degas flashing colors and refined clear strokes, and in the light of the Impressionist color in China traditional painting. In Chen Peiqiu's mature works, western art brings the beneficial effects of invention is evident in the landscape painting and colors.

Chen Peiqiu considered art to create a "new" and "difficult"". Her own art foundation is based on tradition, her concept of innovation is relatively speaking, no old, no new. She studied painting elements of traditional Chinese painting, with refined lines and traditional ink, inspired by the use of Western painting to depict the color of the scene of the texture, volume and dynamic. She believes that "new" is to go through the accumulation of knowledge and skills, and experience accumulation and control skills is time-consuming, which twists and turns the difficult process is difficult".

As a successor to the traditional Chinese painting, she gives herself a mission to re locate the contribution of traditional Chinese painting in the development of modern art.