叶浅予(1907.3.1—1995.5.8)，原名叶纶绮，笔名初萌、性天等。浙江桐庐人。
从事绘画教学和以舞蹈、戏剧人物为主的国画创作。擅人物、花鸟、插图、速写等。笔墨顿挫自如，豪放爽朗，形象生动传神，风格独具，成就显著。中学时自修绘画。1926年起在上海当过柜台伙计，画过广告、教科书插图，并从事时装设计、舞台美术布景。1928年任上海漫画社编辑，开始漫画创作。1929年开始创作漫画，后集成《王先生别传》和《小陈留京外史》。

叶浅予中学时自修绘画。
1926年起在上海当过柜台伙计，画过广告、教科书插图，并事时装设计、舞台美术布景。
1929年开始创作漫画，後集成《王先生别传》和《小陈留京外史》。
1936年出版《旅行速写》、《浅予速写集》，并联合全国漫画家举办第一次全国漫画展，次年成立中华全国漫画界救亡会，为该会负责人之一。
抗战爆发后，在上海组织漫画宣传队，任领队并参加郭沫若负责的政治部第三厅，投身抗日宣传工作。1939年赴香港经办《今日中国》，次年回重庆，作《战时重庆》组画及叙事温画《逃出香港》。1942年於贵州苗区写生，开始转向中国人物画创作。1943年访问印度，归来後举办旅印画展。
抗战胜利后曾赴美国举办画展。1947年到北平艺术专科学校任教。

1954年任中央美术学院中国画系主任、教授。
1980年将补发的“文革”中被扣三万元工资捐赠中央美院中国画系作奖学金。
1981年任中国画研究院副院长。
1982年於中国美术馆举办个展。
中国画《维吾尔人》获第六届全国美展荣誉奖。其他作品有中国画《婆罗多舞》、《长安怀古》组画以及小说《子夜》插图等。出版有《叶浅予作品选集》、《叶浅予画舞》等。
 

叶浅予的艺术成就是多方面的。他在绘画上的造诣首先体现在速写上。可以说速写既是他成为漫画艺术和中国人物画大师的基础，又完全成为独立的、优秀的绘画艺术作品。面对丰富的社会生活和现实中的生动形象，他通过敏锐的追踪、捕捉、提炼、精选，以他心、手、眼协调一致的独到功力，刻画了众多神形兼备的 艺术形象，显示了超凡的艺术造诣。由于他在速写上的长期积累，形成了塑造人物形象的独特风格，当他转向中国画时，便得心应手，卓成一家面貌。诚如徐悲鸿先生在《叶浅予之国画》一文中所
晚年叶浅予
晚年叶浅予
称：“浅予之国画一如其速写人物，同样熟练；故彼于曲直两形体均无困难，择善择要，捕捉撷取，毫不避忌，此在国画上如此高手，五百年来，仅有仇十洲、吴友如两人而已，故浅予在艺术上之成就，诚非同小可也。”
叶浅予转向中国画的时期，正值张大千、常书鸿等人西赴敦煌、使敦煌艺术的风采重新展现之际。浅予先生历来重视中国绘画传统，他也从敦煌绘画宝库中汲取了艺术修养，并集中地表现在他的中国画人物画上。他采用敦煌绘画的重彩方式表现舞蹈人物，形成了他浓郁热情的舞蹈人物画风格。从四十年代开始，他长期专攻舞蹈人物画这一课题，画稿无数，精品纷呈。他研究舞蹈人物的动态规律，塑造了富有生命活力和优美动感的人物形象，他将传统绘画的以线造型发挥到极致，形成了炉火纯青、传神写意的笔墨语言，许多作品堪称“以形写神、形象兼备”的当代典范。在舞蹈人物画这一题材上，他寄注了富有时代特征的审美理想和达观的人生情怀，使作品实现了新内容与新的艺术表现形式的高度统一，丰富了中国画人物画的内涵和意境。
从1947年徐悲鸿先生亲自聘请他到国立北平艺专任教开始，叶浅予在美术教育岗位上兢兢业业渡过了四十多个春秋。中央美术学院成立之后，他投以全力筹建中国画系，并长期担任系主任职务。在他任职期间，团结了中国画系各位名家，抱定“学为人师，甘为人师”的宗旨，立足培养艺术人才、建设教师队伍和弘扬民族绘画传统，经过多年的摸索实践，终于建立起以白描写生为主、写生与临摹并重、练形于练笔结合的中国画基础教学系统,创立了“传统、生活、创造”三位一体“临摹、写生、创作”三结合的现代中国画教学体系。1978年后，浅予先生主持研究生班期间，又总结出“吞吐古今，涉猎中外，自学为主，启导为辅，尊重个性，鼓励独创”的二十四字教学指导方针，并将自己的艺术论点著述成立，结集出版了《画余论画》、《画余论艺》二书。几十年来，他培养了一大批业务能力强并且能适应社会需要的学生，其中许多人今天成为美术工作的骨干，结下了累累桃李硕果。先后为我国培养出出范曾、刘大为、李延声、马泉、胡勃、贾又福等诸多成名弟子。

第一类是漫画。以长篇连续漫画《王先生》开其端，《小陈留京外史》发于中，《天堂记》殿其后。
这是浅予艺术的发皇期。上海杂志公司在三十年代后期出齐了他的王先生、小陈漫画集，留下了一份上海生活的形象资料，描绘了市井的众生相，推出了一套现代官场现形图。
第二类是速写，叶浅予的速写，在画界无出其右。他从30年代起就速写本子不离身。那是从墨西哥漫画家珂佛罗皮斯处学来的。速写本成为画家的形象库。浅予速写，自然以舞台人物最有名。年轻一代人认识浅予艺术是从他五六十年代发表在报刊上的舞台速写开始的。他的速写，大部分是用铅笔线，从《天鹅湖》开始用水墨改画，线条减至无可再减，堪称减笔大师。
第三类是舞蹈人物画。40年代，叶浅予离开漫画，走向国画。第一批作品便是他访问印度归来所作的印度舞画。他用敦煌壁画和佛画的手法画天竺舞，用色厚重，线条工整流畅，有点壁画风。对这批画，徐悲鸿的评语是：“浅予之国画，如其速写人物，笔法轻快，动中肯綮。”宗白华的评语是：“浅予的印度舞面，是古典美与现代美的结合。”到了60年代，他的笔墨解放，出现了画舞的高潮。代表作如婆罗多舞和献花舞，和阗装和夏河装，画上人物洒脱、妩媚、奔放，画界咸谓浅予舞画，60年代是高峰。可惜一阵政治狂飚，打落了他的画笔，掐断了他的艺术黄金时期。70年代后期，他重握画笔，把全部感情倾注到家乡的山水人物。他以两年之期，三易其稿，画成《富春山居新图》长卷，以后又再画《富春人物画谱》百本，老笔纷披，重见他30年代画漫画时的姿肆笔墨。这时期，他不以画舞为满足，尝试国画与漫画的融合，《长安怀古》四题便是。半坡纹、马嵬坡两题，都是有点漫画味。黄苗子说有点马蒂斯味，这当然是画家寻求绘画形式色彩中的一种巧合。

Ye Qianyu (1907.3.1 1995.5.8), formerly known as Ye Guanqi, pseudonym of early adorable, etc.. Tonglu Zhejiang people.
Engaged in painting teaching and dance, drama based Chinese painting creation. Good at figures, flowers and birds, illustrations, sketches etc.. Ink duncuo freely, bold and frank, vivid, unique style, remarkable achievements. When the middle school study painting. 1926 in Shanghai when the counter guy, painting ads, textbook illustrations, and engaged in fashion design, stage art scene. 1928 Shanghai comic book editor, began comic creation. 1929 began writing comics, after the integration of "Mr. Wang" and "Chen Jing biography waishi".
Ye Qianyu middle school study painting.
1926 in Shanghai when the counter guy, painting ads, textbook illustrations, and fashion design, stage art scene.
1929 began writing comics, after the integration of "Mr. Wang" and "Chen Jing biography waishi".
In 1936 published "travel" sketch "," shallow to sketch, and combined with the National Cartoonists held the first national cartoon exhibition, the establishment of the Chinese national salvation comics industry, as the one responsible person.
After the outbreak of war in Shanghai, cartoon propaganda team, team captain Guo Moruo is responsible for and participate in the Political Department of the office of the third, to join the Anti Japanese propaganda work. 1939 in Hongkong "today" Chinese handling, the following year back to Chongqing, as a "wartime Chongqing" series and "escape from Hongkong" Wen narrative painting. 1942 in Guizhou Miao area sketch, began to shift to Chinese figure painting creation. 1943 visit to India, held after the tour printed exhibition.
After the victory of the war of resistance to the United States held an exhibition. 1947 to Beiping art school to teach.
In 1954 he was appointed director and professor of Chinese Painting Department of China Central Academy of Fine Arts.
1980 will be deducted reissue of the "Cultural Revolution" in the wage of thirty thousand yuan donation Chinese Department of the Central Academy of Fine Arts Scholarship for painting.
1981, deputy director of the Institute of Chinese painting.
1982 held a solo exhibition at the China Art museum.
Chinese painting "Uighurs" won the Sixth National Art Exhibition award. Other works include "the China painting dance", "Changan" series and meditate on the novel "Midnight" illustrations. The publication of "Ye Qianyu", "selected works of Ye Qianyu painting dance" etc..

Ye Qianyu's artistic achievements are manifold. His painting on the attainments embodied in the first sketches. Can be said that both his sketch became the basis of cartoon art and Chinese painting master, and become fully independent, outstanding works of art. In the face of vivid and rich social life and reality, through his keen tracking, capture, extraction, selection, in his heart, hand and eye coordination the unique skill, portrayed many both spirit and form of artistic image, showing extraordinary artistic attainments. Because of his long-term accumulation in the sketches, forming a unique style of the characters, when he turned to China painting, then look into a handy, zhuo. As Mr. Xu Beihong in the "painting" of Qianyu in the paper
Ye Qianyu in his old age
Ye Qianyu in his old age
Said: "the Chinese painting to a character sketch as shallow, equally skilled; there are no difficulties on the merits of the two form, to the capture, capture, without any taboo, so the master in Chinese painting, in five hundred years, only two people, all with Wu Youru only, so shallow to success in the arts of Cheng is no trivial matter."
Ye Qianyu turned to Chinese painting period, when Zhang Daqian, and other people went to Dunhuang West, Dunhuang art style to re show the occasion of the. Mr. shallow has always attached importance to the traditional Chinese painting, he also learned from the Dunhuang painting treasure of artistic accomplishment, and concentrated on the performance of his Chinese painting figure painting. He used the Dunhuang painting color performance dance figure, formed a style of dance figure painting he had strong passion. From the beginning of 40s, in his long dance figure painting of this subject, numerous drawings, boutique scene. He studied dance dynamics character, shaping the rich vitality and beautiful dynamic characters, he will traditional painting line modeling to acme, forming the consummate, vivid ink language, many works can be called "modern classic write to God, to form the image of both". This painting theme in the dancing figures, he sent a note of the aesthetic ideal and philosophy of rich time characteristic of life feelings, so that works to achieve a high degree of unity of new content and new forms of artistic expression, rich connotation and artistic conception China painting figure painting.
In 1947 Mr Xu Beihong personally hired him to teach full-time Beiping art, Qianyu in art education, conscientious post spent more than and 40 years. After the founding of China Central Academy of Fine Arts, he voted to build the Chinese painting department, and served as director of the department. During his tenure, the unity of the China painting department all masters, who learn as teachers, Gansu as teachers "purpose, based on the talents of art teachers, and promote the national tradition of painting, after many years of exploration practice, finally established the basic Chinese painting teaching system to write sketches, and in practice, copying and writing with the creation of" tradition, life and creation of "three combination" three-in-one copying, the sketch creation "of modern Chinese painting teaching system. After 1978, during Mr shallow to graduate class, and summed up the "throughput of ancient and modern, Chinese and foreign, self-study, guiding the supplement, respect for individuality, encourage the original" twenty-four word teaching guidelines, and their artistic works argument was established, published the "draw on painting", "painting Yu Yu" two books on art. For decades, he has cultivated a large number of business ability and can adapt to the social needs of students, many of whom today become the backbone of art work, forged with peach fruits. It has trained out of Liu Dawei, Li Yansheng, fan Zeng, Ma Quan, Hu Bo, Jia Youfu and many other famous disciples in china.

The first category is comic. The end of a long continuous comic "Wang", "Liu Jing waishi" in "heaven", followed by the temple.
This is superficial to artistic hair emperor period. Journal of Shanghai company in the late 30s out of Qi Wang, his small paintings of Chen Man, leaving a life in Shanghai image data, described the town of the people, launched a set of modern officialdom figure.
The second category is the sketch, ye Qianyu sketch in the painting circle, second to none. He since 30s from the sketch book. It is from Mexico cartoonist Ke Department learned the Florida pease. The sketch book to become a painter's image library. Shallow to sketch, the most famous natural figures on the stage. A generation of young people to know shallow art is published in the press from the beginning of his 50s and 60s stage sketch. Most of his sketches, with a pencil line, from the "Swan Lake" began to paint modified with ink, without any reduction can be reduced to the line, called the master stroke minus.
The third category is dance figure painting. In 40s, ye Qianyu left comics, to Chinese painting. The first batch of works is his visit to India returned to the India dance. He used the Dunhuang murals and Buddhist painting style painting Tianzhu dance, color thick, clean lines smooth, a little wall style. For this batch of paintings, Xu Beihong's comment was: "traditional Chinese painting to shallow, such as sketch characters, writing light, move to." Zong Baihua's comments are: "shallow India dance, is the combination of classical beauty and modern beauty." By 60s, his ink liberation, the climax of the painting dance. As the representative of dance and dance and flowers, and draw the characters of Xiahe, graceful and charming, unrestrained, painting is shallow to Xian dwuhua, 60s is the peak. Unfortunately, a political hurricane, knocked out his paintbrush, cut off his golden age of art. In the late 70s, he took the brush and poured all his feelings into his hometown. He in the two years, three drafts, painted over the "new" scroll painting "again after the" 100 Fuchun Huapu figure, old pen Fenpi, see his 30s cartoons when posture Stanford ink. This time, he did not dance to meet with Chinese painting and painting, try to integrate comics, "Changan" is the four title of nostalgia. Banpo lines, maweipo two questions, there are some comic flavor. Huang Miaozi said a bit of Matisse flavor, which is certainly a painter seeking painting form color in a coincidence.