Chen Shi's review article on Huang Xinbo's art through Collection of Oil Paintings and Woodcuts by Hsin Po: 1943-1948. The book was published by Hong Kong Yan Press in March 1949, featuring 33 oil paintings and woodcuts created in the period.
The reporter interviewed Huang Xinbo at Guangzhou. Huang Xinbo shared his experience in creative works and block print creation. Two of Huang Xinbo's block prints were published on the page, including Guardian of Peace and Welfare (alias Assurance for Social Construction, 1958).
Newspaper report on "Huang Xinbo Block Print Exhibition", jointly organised by the Guangdong Division of the China Artists' Association and Shenzhen Exhibition Hall, was held at Shenzhen Exhibition Hall from 15 November to 17 December 1978. Huang Xinbo's 160 pieces of artworks between 1933 and 1977 were showcased. Characteristics of Huang Xinbo's block prints were briefly introduced. Huang Xinbo's block print Air-raid Shelter When There Is No Air-raid (1941) and the interview 'Devoted Himself to Block Print Creation: Huang Xinbo Shared His Experience' (1) were published on the page.
Zhou Yi interviewed Huang Xinbo at Guangzhou. Huang Xinbo talked about his early artistic life and his focus on block print creation afterwards. Newspaper report on "Huang Xinbo Block Print Exhibition" was published on the page.
Zhou Yi interviewed Huang Xinbo at Guangzhou. Huang Xinbo talked about his early artistic life and his focus on block print creation afterwards. The photo of Huang Xinbo during interview at hospital was included.
Huang Xinbo recalled his memory on the "Second National Woodcut Touring Exhibition", held at 9/F Y.M.C.A. Building, Baxian Bridge, Shanghai from 2 to 8 October 1936. The photo of a visit from Lu Xun in the exhibition was included.
Ke Wenyang, using the byline Man Yang, recorded how he moved from Vietnam to Guangzhou to study in the South China People Academy of Literature and Art, how Huang Xinbo had helped in the admission, and how Huang's block print had influenced his creative works. This is part 1 of the series of 11 articles.
Ke Wenyang, using the byline Man Yang, recorded how he moved from Vietnam to Guangzhou to study in the South China People Academy of Literature and Art, how Huang Xinbo had helped in the admission, and how Huang's block print had influenced his creative works. This is part 2 of the series of 11 articles.
Ke Wenyang, using the byline Man Yang, recorded how he moved from Vietnam to Guangzhou to study in the South China People Academy of Literature and Art, how Huang Xinbo had helped in the admission, and how Huang's block print had influenced his creative works. This is part 3 of the series of 11 articles.
Ke Wenyang, using the byline Man Yang, recorded how he moved from Vietnam to Guangzhou to study in the South China People Academy of Literature and Art, how Huang Xinbo had helped in the admission, and how Huang's block print had influenced his creative works. This is part 4 of the series of 11 articles.
Ke Wenyang, using the byline Man Yang, recorded how he moved from Vietnam to Guangzhou to study in the South China People Academy of Literature and Art, how Huang Xinbo had helped in the admission, and how Huang's block print had influenced his creative works. This is part 5 of the series of 11 articles.
Ke Wenyang, using the byline Man Yang, recorded how he moved from Vietnam to Guangzhou to study in the South China People Academy of Literature and Art, how Huang Xinbo had helped in the admission, and how Huang's block print had influenced his creative works. This is part 6 of the series of 11 articles.
Ke Wenyang, using the byline Man Yang, recorded how he moved from Vietnam to Guangzhou to study in the South China People Academy of Literature and Art, how Huang Xinbo had helped in the admission, and how Huang's block print had influenced his creative works. This is part 7 of the series of 11 articles.
Ke Wenyang, using the byline Man Yang, recorded how he moved from Vietnam to Guangzhou to study in the South China People Academy of Literature and Art, how Huang Xinbo had helped in the admission, and how Huang's block print had influenced his creative works. This is part 8 of the series of 11 articles.
