吴茀之1900年4月26日出生。工诗、文、书、画，擅长意笔花鸟画，对于国画理论及古画赏鉴，都有深厚修养。幼承家学，酷爱美术，读书之暇，常临蒋南沙、挥南田工笔范本。1915年考取严州省立第九中学，名列第一。1919年拜陈友年为师，补习诗词、文史典籍。1922年进上海美专高科班，受吴昌硕大写意派的启发，改攻写意，深得奶庐神髓。毕业后，赴苏州第一师范和淮安中学执教美术，1928年出版《弗之画稿》，刘海粟题，“超逸高妙”。1929年回上海美专任教授兼沪江大学及附属中学美术导师。早年致力于蒋南沙、恽南田工整体系，弱冠至上海，曾受当代名画家吴昌硕、王一亭大写意画法的启发，以笔墨意趣为重，转爱白阳、青藤、八大、石涛及扬州八怪等奔放一路，深得社会人士好评，谓其笔墨健拔，气势磅礴，艳而不俗，多而不乱，有清丽超脱姿致。解放后，在继承传统的基础上，加强师法自然和师我心的结合，从不似之似和无法之法中探求新风，努力反映时代精神和生活气息。1932年，与潘天寿、诸闻韵、张书旂、张振择五人组织“白社”画会，继承“扬州八怪”的革新精神，从事诗、书、画的研究，在沪、苏、宁、杭等地举办白社画展，出版白社画集。常与潘天寿出入上海诸收藏家之门，赏鉴历代名画真迹，眼界大开，艺事日进。在教学中，既能作画示范，又能阐明画理与画法，成为上海三十年代很受学生欢迎的名教授。抗日战争爆发，在沪积极举办古今书画展，为捐募救国基金不遗余力。1939年赴滇任国立艺专教授，1941年8月任福建省立师专中国画教授，解放后，和潘天寿在中央美术学院华东分校（即浙江美术学院前身）民族绘画研究室和彩墨画系工作期间，对民族绘画的研究和为学校鉴别、购进大量明、清书画珍品，作出贡献。1957年任国画系主任，紧密配合潘天寿对绘画虚无主义的批判，首创中国画人物、山水、花鸟、书法的分科教学。强调中国画教学的独立性，强调在继承传统的基础上创新，强调中国画造型是笔线造型，不赞成用明暗块面塑造的观念和方法作为中国画的造型训练内容；强调教书又教人，提倡人格教育。“文化大革命”中，作《篱菊图》、《松色不肯秋》，被诬为“黑画”，被批斗，于1977年7月26日逝世。吴茀之曾任浙江省第三届人大代表、民盟浙江省委委员、中国美术家协会浙江分会常务理事。一生淡于名利，埋头于艺术创作和美术教育事业，擅长意笔花乌；间作山水、人物、走兽，素有诗、书、画“三绝”之称。早年画风受吴昌硕影响甚多，后吸收青藤、自阳、石涛、李鲜诸家，自辟画风，形成丰润郁勃，炯娜多姿的独特风格在画史、画论方面也有很深的造诣和独到的见解。

吴茀之擅长意笔花鸟画，间作山水、人物，其绘画特别讲气势，重境界，求变化。艺术特点有灵、变、奇、活、重、辣、新、逸之妙。形成自己灵动飘逸、丰润郁勃、婀娜多姿、极富情趣的独特风格。刘海粟曾叹其为“高超妙逸”。绘画题材广泛，突破传统，超出时人，尤以画兰，“当代罕见”、“超绝无伦”。其书法遒劲飘逸，跌宕多姿，与画相得益彰。早期与潘天寿等创立“白社”画会，研究与弘扬中国画艺术。
吴茀之幼承家学。稍长，临学蒋南沙（延锡）、恽南田（寿平）工整一路。后受吴昌硕、王一亭（震）大写意画法的启发，转爱白阳（陈淳）、青藤（徐渭）、八大（朱耷）、石涛及扬州八怪等奔放一路，而出入诸家，不为古人成法所囿，融会贯通，超脱灵变，形成自己丰润郁勃、婀娜多姿的独特风格。作画重天机逸趣而重视写生，对“外师造化，中得心源”别有心会，蹊径别开。其作品造型概括夸张，灵活生动；构图有繁有简，平中求奇；取材广泛，除擅长梅兰菊竹、荷花、松鹰等传统题材外，农家瓜菜、药本花草以及蓖麻、桑椹等亦入之画图；敷色清丽高雅，艳而不俗，更喜以淡取韵，以沃润丰泽，淋漓恬逸为胜。所作兰竹，清芬绝尘，世人评为无出其右者。除擅长意笔花鸟以外，间作山水、人物，亦自气格不凡。对于绘画理论与书画鉴赏，都有深厚修养。他常说“学那家，须深入堂奥，将其长处学到手”。“单取一家易拘守，要取法乎上，贵在变通”。主张作画要重天机逸趣，使灵感与取法自然结合，故立意构图清新别致，力从“不似之似”、“无法之法”中辟创新格。茀之工诗文，书法精佳，得力于《马鸣寺碑》、《石门铭》为多。篆法古朴，颇近老缶（吴昌硕）；行书喜傅青主（山）而自出新意；草书潇洒奔放，沉雄苍润。诗涉猎唐宋诸名家，尤爱陆剑南（游）。合诗、书、画、印于一体，熔冶无间，自创一家，享有盛名。从事国画创作和美术教育五十余年，以宣扬、革新国画与培养人才为己任，成就卓著，为当代著名中国画家、美术教育家。

“国画写生着重在各种形态之变化，构图之发生不已，确足医临摹徒穷纸上形似之病，济创造凭空结想之穷，为求国画新发展之道，若必专事写生，将吾国数千年来精神所寄之笔墨与气韵，一概废而不讲，则何以修养身心，提高品位？画其所重，亦郎世宁之流亚也，吾未敢从。”这是吴茀之在《中国画理概论》“论写生”一节中的论述，清楚地说明了写生与笔墨在中国画发展中的重要关系。此种以事写生，观形态，创构图，寄精神于笔墨、气韵，重品格的理念一直贯穿其画迹之中。因而须探寻吴茀之的写生观与绘画理念之根源及其形成，以便更清晰地窥见他整体的艺术思想。吴茀之二十世纪初出生于浦江县前吴村，自幼受家庭的文化氛围熏陶，受父兄、舅父诸长辈影响颇多，逐步形成对诗文、书画最初的审美情趣。吴茀之早年学步于家藏恽南田、蒋廷锡的花鸟写生册页，这对其后来形成关照自然的写生观起到非常关键的作用。首先，以写生为革新的重要途径。民国时期花鸟画多承袭海派画风，不脱“画谱气”，又受书画市场的影响，导致作品庸俗，没有生活的直接感受。茀之先生在《论写生》中指出：“欲全其形，欲新其境界，非从写生下手不可，由临摹到一些笔墨之经验与神韵上的领会以后，便当从事实地写作以明理境。久之，小则一草一木一丘一壑之形态，大则于人生之意义，自然之变化，皆可了然于胸中，由此即景生情，即情造景，渐入创作而达到化境不难矣。”此可知其受恽南田“一洗时习，独开生面”写生思想影响之深。其次，于具体写生的观察和运用中，茀之先生追求真实生动，意趣盎然，而后注以笔墨形质。
他在《论写生》中则进一步阐述了恽正叔“极生动之致”的理法：“花卉的笔墨，常因气候而异。画春花，要得滋润含露之意，故宜用湿笔；画秋冬之花，要得其傲霜之态，故以燥笔为之。凡画花卉，要得其迎风，带雨含露之意态。”再则，茀之先生又长于诗文，尚情趣，作品中洋溢着很强的抒情性。《南田画跋》亦记：“笔墨本无情，不可使运笔墨者无情，作画在慑情，不可使鉴者不生情。”可见，吴茀之写生理念上直接继承恽氏遗风，然于技法层面则更倾向于水墨写意一路，主性灵，重格调。吴茀之在去上海求学之前，主要是在舅父、长兄指引下学习书画。舅父黄尚庆书法师颜鲁公笔意，以文衡山体势运之，形成了点画沉厚，书写秀逸之风格；水墨画有扬州八怪之遗风，笔墨酣畅，近黄瘿瓢，喜写荷花、芦蟹等农家题材。兄长吴士维师于舅父，画风相似，晚近边寿民。前辈的熏陶，耳濡目染，使吴茀之较早地对以清代石涛为渊源的扬州画派为主导的中国画革新精神有了最初的了解。1922年，吴茀之考入上海美术专门学校，成了中国近代学院美术教育最早的科班学生，期间受业于诸闻韵、许醉侯、吴昌硕、王一亭、黄宾虹、经亨颐等，而得到诸闻韵直接教诲最多。闻韵先生是吴昌硕的家庭教师，师法缶翁，但已初具面貌，对吴茀之形成个人面貌产生了引导作用。当时国民政府每况愈下，爱国人士多方取经，
救国救民。文化界以蔡元培、经亨颐、徐悲鸿、刘海粟等为代表以美育教化人，重振民族之精神，在不同程度上推动了中国画的革新。这一时期画风多法缶翁大写意，强以气势。近而上追清代李复堂。复堂早随蒋廷锡习画，在蒋氏和南田之间，后师高其佩，形成了重视生活，率意挥写，崎岖淋漓的画风。期间还旁涉青藤白阳、石涛、八大、扬州画派、任伯年、赵之谦、蒲华等诸家之长。这些都与茀之先生早期绘画思维不谋而合，之后，茀之先生艺术创造上多以此为动力，为以绘画表现时代、人格精神的观念打下了坚实基础。1932年夏，吴茀之与诸闻韵、潘天寿、张书旗、张振铎5人在上海发起了白社国画研究会。时年33岁的吴茀之任上海美专教授，在对师友、古人等多方取法之后，已基本确立了以“扬州画派”的革新思想为主的绘画理念、审美以及自己大致的取法方向，直到其晚年作品，我们已看到他的画风渐入佳境，呈现出醇厚平和之气。然而因“文革”摧残，终未能遂其毕生所愿，实在不能不令人怅然。吴茀之的写生观及其对花鸟画的理念，是以革新与个人品格为根基的，体现出关照自然、高逸灵秀的人文情怀。笔者认为，在中国书画艺术生生不息的发展长河中，我们更需要的是个体特质的展现与传统文化品格的升华。

浦江历代文风鼎盛，素有省“书画之乡”美誉。1993年，浦江县党政领导班子作出“让书画走向世界，让世界了解浦江的重大决定，决定兴建名家纪念馆等文化基础设施，吴茀之先生家属徐菊芸、吴唤香、吴瑶仙、张岳建等持，慨赠了珍藏的吴茀之书画精品80件和书籍遗物多件，为建成吴茀之纪念馆奠定了基础。
1994年，吴茀之纪念馆建成开馆，开馆以来，青年峰古塔旁的吴茀之纪念馆每年要接待众多的国内外参观者，尤其是1995、1998、2001年的三届浦江中国书画节成功举办，更使吴茀之艺术有目共睹，诗、书、画也成为大家共同的爱好和追求。
吴茀之先生的艺术美在于花鸟传世，以书画传神。他继承传统，革新传统，发扬传统融西于中，博而深美，以花鸟传世，他为花鸟写韵，为鸟写神，神采飞扬，独领风骚，言物写景，壮物抒怀，以格入品，以神为魅，传达思想，讴歌生命，道出一位艺术家和学者对中国民族精神绝妙写照。有法与无法，一与不一，虚与实，繁与简，黑与白，反映了吴茀之国画艺术中所呈现的矛盾，他们的断裂整合产生了一股巨大的张力，使吴茀之的书画有着巨大的艺术魅力

Wu Fuzhi born in April 26, 1900. The poetry, literature, calligraphy and painting, good at freehand flower and bird painting, painting paintings for theory and appreciation, have profound accomplishment. The family, love art, reading time, Chang Lin, Jiang Nansha waved Nan Tian meticulous template. 1915 admitted to Yanzhou provincial Middle School ninth, ranked first. In 1919 Chen Younian worship as a teacher, poetry, literature and history books tutorial. In 1922 Shanghai meizhuan tech class, inspired by the Wu Changshuo capital group, turned freehand, deep Lu milk essence. After graduation, went to Suzhou first normal school and Huaian middle school teaching art, published in 1928, "the Liu Haisu question" Eph drawings, and "sublime elegance". Back in 1929 Shanghai beauty professor and University of Shanghai and affiliated middle school art teacher. In his early years, Jiang Nansha is committed to working the whole department Yun Hui Nantian worships, later to Shanghai, inspired by the contemporary artist Wu Changshuo, once Wang Yiting freehand brushwork, using ink interest as the most important, love Bai Yang, ivy, eight, Shi Tao and Yangzhou eight strange and unrestrained way, won the public praise, stating that his words Stubbs, of great momentum, but beautiful, rather than chaotic, elegant and detached attitude to. After the liberation, on the basis of inheriting the tradition, strengthen the combination of nature and division of my heart, never like and no method to explore the fresh air, and strive to reflect the spirit of contemporary life. In 1932, with Pan Tianshou, Zhang Shuqi, Zhang Zhenze, Zhu Wen Yun five "white society" of painting, inheritance and innovation spirit of "Yangzhou eight monsters", engaged in the study of poetry, calligraphy and painting exhibition, held in Shanghai, Jiangsu, agency, Nanjing and Hangzhou etc., the White Album Publishing agency. With Pan Tianshou out of Shanghai Zhucheng collectors door, appreciation of famous historical artworks, fantastic artistic day. In teaching, both painting demonstration, but also to clarify the painting and painting, Shanghai became very popular in 30s professor. The outbreak of the Anti Japanese War, and actively held exhibition in Shanghai, to donate funds to save spare no effort. 1939 went to Yunnan national art professor, August 1941 Ren Fujian provincial teachers college professor, China painting after liberation, and Pan Tianshou at the China Central Academy of Fine Arts East Campus (Zhejiang Academy of Fine Arts) National Painting Research Office and the Department of color ink painting during the work, research on national painting and school identification, purchase a large number of Ming and Qing Dynasty calligraphy treasures, contribution. In 1957, the Chinese painting department director, in close cooperation with the Pan Tianshou critique of painting nihilism, teaching creative character, China landscape painting, calligraphy, flower and bird. Independence Chinese painting teaching, emphasis on innovation on the basis of inheriting the tradition, emphasizing the other China painting is pen line shape, not in favor of the idea and method for value made dough as modeling training content Chinese painting; emphasize to teach and teach people, advocating personality education. During the "Cultural Revolution", as a "map", "Lei Ju loose color would not fall", has been accused of "black paintings", was denounced, died in July 26, 1977. Wu Fuzhi served as the third Zhejiang Provincial People's Congress, the Zhejiang Provincial Committee, Chinese Artists Association executive director of Zhejiang branch. Life indifferent to fame and wealth, immersed in art creation and art education, good at freehand flower Ukraine; intercropping landscapes, figures, animals, known as poetry, calligraphy and painting ". The early style influenced by Wu Changshuo very much, after the absorption of ivy, Yang, Shi Tao, Li Xian from the school, since the provision of style, form rich Yu Bo, unique style bright coquettish have deep knowledge and insights in the painting history and painting aspects.

Wu Fuzhi is good at Italian flower and bird painting, for landscape, characters, painting special stresses momentum, heavy realm, seeking change. Artistic characteristics have spirit, change, odd, live, heavy, spicy, new, escape wonderful. Smart and elegant, unique style and form their own rich Yu Bo, very fun, very pretty and charming. Liu Haisu once sighed it as "superb wonderful". Painting a wide range of subjects, break through the traditional, beyond people, especially in the "contemporary painting blue, rare and superb without aaron". The elegant calligraphy and painting and elegant, colorful, complement each other. Early and Pan Tianshou and other "white club" painting, research and promote the art of Chinese painting.
Wu Fuzhi School of family studies. A little longer, Lin Jiang Nansha (Yan Xi), Yun Nantian (Shou Ping) neat road. After Wu Changshuo, Wang Yiting (shock) inspired freehand painting, to love Bai Yang (Chen Chun), ivy (Xu Wei), eight (Zhu Da), Shi Tao and Yangzhou eight strange and unrestrained way, and out of the family, not for the process design, mastery, detached spirit, formed a unique style of their own Fengrun Yu Bo, very pretty and charming. Learn the importance of sketch painting heavy secret, "nature outside, in the heart" heart don't, don't open the way. The works of general shape exaggeration, vivid; the composition is complicated or simple, odd in the ordinary; widespread, except at Mei Lan Juzhu, lotus, pine eagle and other traditional subjects, farm vegetables, flowers and drawing the medicine and also in castor and mulberry; the colors and elegant, gorgeous but not vulgar, more like to take to light rhyme, worun fortress, dripping comfortable wins. The fragrance of orchid and bamboo, the vast dust, the world as their second to none. In addition to good Italian flowers and birds, for landscape, characters, but also from the gas grid extraordinary. For painting theory and painting appreciation, have deep self-cultivation. He said: "the home to the insights of its strengths, learn". "Take a single easy to stick to your work, I". That painting to the secret garden, the inspiration of nature and the method, the conception of composition of fresh and chic, from "unlikeness like", "no law" in the provision of innovative personality. The work of Fu Poetry, calligraphy, fine good, thanks to the "Temple Monument", "Shimen Ma Ming" for more. The seal method simple, very near the old fou (Wu Changshuo); script Xi Fu Qingzhu (Hill) and the new cursive; clear bold, and pale. Poetry dabbled in the Tang and Song Dynasties masters, especially love Lu Jiannan (tour). Combination of poetry, calligraphy and painting, on the whole, melting together, created a reputation. Engaged in the creation of Chinese painting and art education for more than fifty years, in order to promote, reform and training of Chinese painting personnel responsibility, outstanding achievements for contemporary famous Chinese painters, art educators.

"Traditional Chinese painting mainly changes in various forms, the composition occurs unceasingly, enough medicine acts like copying paper poor disease, to create economic out node for poor, new development of Chinese painting, if have specializing in painting, painting will and spirit of my country for thousands of years by the spirit to send it, all the waste without speaking, why is cultivation of body and mind, improve the grade? The painting, Lang Shining also like Asia, I dare not from." This is Wu Fuzhi in the "Introduction to Chinese painting" "on sketch" section of the exposition, clearly illustrates the sketch and ink in the development of Chinese painting important relationship. This kind of thing to sketch, morphology, and composition, to send the spirit of ink, tone, heavy character concept has been through their paintings. So there is a need to explore Wu Fuzhi's sketch view and origin of painting idea and form, in order to more clearly see his whole artistic thought. Wu Fuzhi was born in Pujiang in early twentieth Century by Wu village before the county, by his family culture atmosphere, and the influence of elder uncle, by a lot of poetry, calligraphy and painting, and gradually formed the original aesthetic taste. Wu Fuzhi early in Tibetan Walker and Jiang Tingxi Yun Hui Nantian worships bird painting album, which was formed to take care of natural sketching concept plays a very important role. First, sketch as an important way of innovation. The period of the Republic of China inherited the painting more Shanghai style, not from the "Huapu gas", but also influenced by the works of calligraphy and painting market, leading to direct feeling vulgar, no life. Mr. Fu pointed out in "on painting": "for all its shape, to the new realm, non start not from the sketch, by copying to understand some ink on the experience and charm, when writing to and exit from the fact. For a long time, small to every tree and Bush morphology, is in the life meaning, the natural changes, all the while Yu Xiongzhong, the scene moved the feeling gradually into the landscape, and not difficult to achieve the creation of environment." This shows that the "Yun Hui Nantian worships wash Xi, only special" sketch ideological deep influence. Secondly, observe and apply the specific painting in the pursuit of true vivid Mr. Fu, interesting, and then injected with ink form.
In his "on painting" is further elaborated by Yun Zhengshu "very vivid scenery": "flower painting, often varies with climate. Painting flowers, to be moist with dew of Italy, so it should use the wet painting pen; autumn flowers, to the frost of the state, so the pen is dry. Where the painting flowers, to the wind, rain and dew will contain." In addition, the longer than Mr. Fu Poetry, still taste works filled with very strong lyricism. "Nantian painting postscript" also remember: "ink this merciless, don't make the transport brush painted on fear, heartless, do not make love without discrimination." Obviously, Wu Fuzhi painting ideas directly inherited the Yun family legacy, but in the technique level is more inclined to wash a road, the main spirit, style. Before Wu Fuzhi went to Shanghai to study, mainly to learn calligraphy and painting in the uncle, brother under the guidance of. Uncle Huang Shangqing Book Master with the subject, to the mountain potential transport scale, heavy stippling formation, writing style hideitsu; ink painting style, Yangzhou eight strange ink hearty, near yellow gall scoop, write like lotus, Lu crab farm theme. Brother Wu Shiwei teacher uncle, style is similar to that in the side of life. Senior edification, monasteries, the initial understanding of the spirit of Wu Fuzhi early in the Qing Dynasty Shi Tao as a source of Yangzhou school as the leading innovation China painting. In 1922, Wu Fuzhi was admitted to the Shanghai College of fine arts, the College of fine arts education in modern Chinese the earliest Cobain students during the industry on Xu Zuihou, Wu Changshuo, Wen Yun, Wang Yiting, Huang Binhong, Jing Hengyi, and the most direct teaching of Wen yun. Mr. Wen rhyme is Wu Changshuo's family teacher, imitate fou Weng, but has begun to face, had a guiding role to the formation of Wu Fuzhi personal appearance. The national government at that time to learn many patriots,
Salvaging. The cultural circles take Cai Yuanpei, Jing Hengyi, and so on as the representative to educate the people by the esthetic education, the revival national spirit, promoted the Chinese painting innovation in varying degrees to the innovation in the cultural world. On the other hand, the cultural circles promoted the Chinese painting innovation in the different degree in the cultural field, which was represented by the Chinese people's Republic of China, such as, such as, such as, such as, such as, such as, such as. This period style method fou Weng freehand, with strong momentum. Near and up chasing Qing Dynasty Li Futang. As with the Jiang Tingxi painting hall complex, between Chiang and the South Division high field, after the service, the formation of the importance of living, Frank wrote the play, rugged dripping style. During the next involving Bai Yang, Shi Tao, eight ivy, Yangzhou school, Ren Bonian, Zhao Zhiqian, Pu Hua and other home a long time. And these are the early thinking of painting Mr. Fu, Mr. Fu agree without prior without previous consultation, the artistic creation on this as a driving force, to the painting era, the concept of personality and lay a solid foundation. In the summer of 1932, Wu Fuzhi and Wen Yun Yun, Pan Tianshou,, 5 people in Shanghai initiated the white society of Chinese Painting Research Association in the White House of the people's Republic of China (). The 33 year old Wu Fuzhi Ren Shanghai Academy of fine arts professor, after the teachers, multi method, has been basically established by the "Yangzhou school" thought mainly painting philosophy and aesthetics and the approximate method, until the later works, we have seen the style of his paintings is getting better, showing a mellow gentle gas. However, because of the "Cultural Revolution" had failed to end their life was like, really can't upset. Wu Fuzhi's sketch view and concept of painting, is the innovation and personal character as the foundation, reflect the natural scenery and beauty care of humanity.
  Pujiang ancient style peak, is known as the "Shuhuazhixiang". In 1993, Pujiang county Party leadership to make painting to the world, let the world understand the major decision in Pujiang, decided to build the famous museum and other cultural infrastructure, Mr. Wu Fuzhi, Wu Huanxiang, Wu Yaoxian, Xu Juyun family Zhang Yuejian holding, donated the collection of Wu Fuzhi works 80 books and relics, laid the basis for the completion of the memorial hall of Wu Fuzhi.
In 1994, Wu Fuzhi memorial hall was completed and opened, the opening, the young peak in Guta next to the Wu Fuzhi Memorial every year to receive a large number of domestic and foreign visitors, especially the three Pujiang Chinese Calligraphy Festival 1995, 2001 1998, the success of the Wu Fuzhi art more obvious to people, poetry, calligraphy and painting has become a common pursuit of love and.
Mr. Wu Fuzhi is the art of flower and bird painting handed down, with vivid. He inherited the tradition of innovation, tradition, carry forward the traditional financial West in broad and deep beauty, with birds and flowers handed down, he wrote the rhyme to write to God for the birds, flowers and birds, in high spirit, dominate the scenery, Yan Zhuang, Shuhuai, to make God into the lattice, charm, to convey thoughts, a whole life, an artist and scholar to Chinese excellent portrayal of national spirit. There is not a law and, and, and, complex and simple, black and white, reflects the contradiction of Wu Fuzhi painting art in the integration of their fracture produced a great tension, so that Wu Fuzhi's painting has great artistic charm