袁松年，又名袁十，字鹤文；广东番禺（今广州市番禺区）人；早年就读于上海圣约翰大学，学习西洋画。当时康有为，吕澄，陈独秀等主张利用西洋画法，变革中国画。袁松年受到他们的影响，毅然放弃西洋画，专事国画创作。并提出了“国画合理化”主张，做了许多借西洋画法新国画面目的尝试。解放后，袁松年任上海中国画院画师，中国美术家协会上海分会会员，上海文史馆馆员，黄浦区政协委员。

袁松年美术作品

 袁松年早年学习过西洋画，素描根基很扎实。后来改学中国画时，正值“四王”萎靡柔弱和软甜俗赖的画风遭到批判。陈独秀等人提出“美术革命”的口号，旗帜鲜明地宣称“若想把中国画改良，首先要革王画的命”。在这种舆论环境下，不仅“四王”（王时敏，王鉴，王翚、王原祁）的画没有市场，“元四家”的画也不受欢迎（因为“四王”主要是学“元四家”中的倪云林和黄子久，康有为就明确反对过“元四家”的画风）。袁松年便把目光投向了“水墨苍劲”的南宋院画。他从临习李唐、刘松年、马远、夏圭的作品入手，旁及荆浩、关仝、李成、范宽等，逐渐形成了自己独特的风格。他的画汲取了西洋画的养分，讲究透视，比例。色彩丰富，层次感强。他的画也吸收了宋画的优点，可行，可望，可居，可游。风格厚实，高古。设色明艳脱俗；山石先以焦墨勾出大致轮廓，再以小斧劈皴或雨点皴皴染出明暗，最后用浓墨或花青点苔。树木刻画较细致，往往先以毛笔勾出树干和树枝，然后在此基础上，根据树的种类画上不同的枝叶。袁松年的画的有一个突出特征就是枝叶描绘细致，很少用点叶法。 和同时代的国画家相比，学过西洋画的袁松年更注重写生。他有一枚印章“我师造化”，他的山水画不同于明清那些闭门造车的“书斋山水”。少小离家，丰富了他的经历和阅历。他以造化为师，描绘目之所见，心之所志，晚归的商船，早起的渔民，还有童年生活过的石马村......开阔的眼界，雅俗共赏的意境，使袁松年的作品历久弥新。

袁松年美术作品

 Yuan Songnian, a man who graduated from the University of Hong Kong, was a painter of the Chinese Academy of painting. He studied western painting and thought of making foreign things serve China, creating new Chinese paintings. Later, he gave up western painting and tried to rationalize traditional Chinese painting. The so-called rationalization was to get rid of the rigid brush and ink pattern in traditional painting, and to express landscape and scenery in a more realistic way. He used to be a painter of the Chinese Academy of painting, a member of the Chinese Artists Association, a librarian, a member of the CPPCC National Committee, and a lyric poetry collection and a collection of scenic spots. The works handed down to the world such as "Jiao Yi Jiao Tu" and "Yun Cai Tu" are hidden in the Chinese Academy of painting.

Yuan Songnian, also known as Yuan ten, Zi He Wen; he (now Shi Shi Shi) people; early in the University of Hong Kong, learning western painting. At that time, Kang Youwei, Lu Cheng and Chen Duxiu advocated making use of Western painting to transform Chinese painting. Influenced by them, Yuan Songnian resolutely abandoned Western painting and specialized in traditional Chinese painting creation. And put forward the "rationalization of traditional Chinese painting" proposition, made a lot of attempts to borrow Western painting purpose of the new country. After liberation, Yuan Songnian was a painter of the Chinese Academy of painting in Shanghai, a member of the Shanghai branch of the Chinese Artists Association, a member of the Shanghai Museum of history and culture, and a member of the Huangpu District Political Consultative Conference.

Yuan Song learned Western painting in his early years, and his sketch foundation is very solid. Later, when learning Chinese painting, it was criticized that "four kings" were weak, soft and sweet. He and others put forward the slogan of "fine arts revolution" and declared clearly that "if we want to improve Chinese painting, we must first change the life of Wang painting". In this public opinion environment, not only the paintings of "four kings" (Wang Shimin, Wang Jian, Wang Hui, and) have no market, but the paintings of "four yuan" are also unpopular (because "four kings" mainly learn Ni Yunlin and Huang Zijiu in "Yuan four"), and Kang Youwei clearly opposed the style of "Yuan four". Yuan Songnian turned his attention to the Southern Song Dynasty courtyard paintings with "vigorous ink and wash". Starting from his works of Linxi, Liu Songnian, Ma Yuan and Xia GUI, he gradually formed his own unique style through Jinghao, Guan Tong, Li Cheng and fan Kuan. His paintings absorb the nutrients of Western paintings, pay attention to perspective, proportion. Rich color, strong sense of hierarchy. His paintings also absorb the advantages of Song paintings, which are feasible, hopeful, habitable and travelable. Thick style, high ancient. The outline of the stone is outlined with scorched ink, then it is dyed with a small axe or raindrops, and finally it is dotted with thick ink or blue moss. Trees are delicately depicted, usually with brushes to delineate the trunk and branches, and then on this basis, according to the types of trees on different branches and leaves. One prominent feature of Yuan Songnian's paintings is that they are meticulous in describing branches and leaves, and seldom use the dot-leaf method. Compared with the contemporary Chinese painters, Yuan Songnian, who had studied Western painting, paid more attention to sketching. He has a seal "My Teacher Created", and his landscape paintings are different from those of the Ming and Qing Dynasties which built cars behind closed doors. Leaving home young enriched his experience and experience. He took good fortune as a teacher, depicted what he saw, what he saw, what his heart was like, the merchant ship that came home late, the fishermen who were early fishermen, and the Shima village, which he had lived in childhood.