Because the work has not yet been implemented and the future is still difficult to predict, Xu Beihong decided to go to Beijing, the ancient cultural capital, to make a living. Before leaving, he carefully drew a picture of a galloping horse and planned to ask Mr. Tang, a fellow from Yixing who came to Shanghai to discuss business, to take it back to him as a reward for the folks who had enthusiastically helped him. In the hotel where Mr. Tang stayed, Xu Beihong met the wealthy businessman Huang Zhenzhi. Huang Zhenzhi accidentally picked up the galloping horse picture brought by Xu Beihong and was immediately attracted by it. He said in amazement: "It's a good painting. This painting looks careless and careless, but in fact it is cleverly composed, meticulous and novel. But where is Mr. Xu Beihong now? I am considered relatively wealthy in Shanghai. Collector, how come you have never heard of this painter?"
When he heard that the unassuming young man in front of him was Xu Beihong, he was very surprised. After he learned about Xu Beihong's situation in Shanghai, he was very sympathetic and enthusiastically persuaded Xu Beihong to stay in Shanghai. He would take care of all the food, clothing, housing and transportation.
In 1916, Xu Beihong's life settled down and he lived in "Hartong Garden". Here he met the dignified, generous and talented Jiang Biwei. Xu Beihong had a deep admiration for her, and Jiang Bihe also felt like this young man and was moved by his talent. However, she had long been engaged to the Cha family in Suzhou, and it was very difficult to break the marriage, so Xu Beihong had to take her away. In 1917, the passionate lovers boarded a ship bound for Japan, where they began a life together.
Xu Beihong returned to China a year later. After being introduced by Kang Youwei, he came to the ancient capital Beijing, which he had longed for. The ancient and splendid culture of the motherland broadened his horizons and absorbed nutrients. By visiting scenic spots and historic sites, he painted many pictures of landscapes and figures, and took this opportunity to talk about his ideals and express his concern for the country and the people.
In 1920, Xu Beihong was admitted to the Ecole Supérieure des Beaux-Arts in Paris, France, and began his life of studying abroad. In France, Xu Beihong witnessed with his own eyes the art treasures collected in the Louvre, including the statue of "Venus", Leonardo da Vinci's famous painting "Mona Lisa" and the stone sculpture "Victory" from the 2nd century BC. In front of these art treasures, he lingered and marveled, and at the same time, his artistic creation was further improved.
In 1927, Xu Beihong returned to Shanghai after studying abroad and became the most influential figure in the art world at that time. His paintings are based on Western classical realism, and he strongly advocates the use of "realism" to transform Chinese painting. He summed up the "Seven New Methods", emphasizing "exerting subtlety to reach the vastness", "lifelikeness", and "directly learning from nature". In particular, his theory that "drawing is the basis of all plastic arts", with the help of his authoritative position in the educational field, produced an epoch-making effect in the history of painting. This announced the general end of the painting form of drawing lines and filling in colors for more than 1,000 years from Gu Kaizhi to Ren Bonian and the birth of a new generation of traditional Chinese painting methods. His realistic ideas were integrated with the "socialist realism" introduced from the Soviet Union, becoming the largest mainstream painting school in the 20th century, and its influence is undeniable. Through the "Modern Chinese Painting Exhibition" touring exhibition held abroad for one year and seven months, it broke the prejudice of Westerners who underestimated Chinese culture and art, and established prestige for the motherland's culture in the world art world.
During the Anti-Japanese War, Xu Beihong always cared about the safety of his motherland and expressed his patriotic passion through paintings many times. He created giant oil paintings "Tian Heng's Five Hundred Soldiers" and "The Foolish Old Man Moves the Mountain", which praised the mighty and unyielding national spirit of the soldiers and encouraged the people to persist in the struggle under difficult conditions. On January 28, 1932, Japan bombed Shanghai. The Nineteenth Route Army stationed in Shanghai fought bravely. Xu Beihong was full of passion and painted the traditional Chinese painting "Rooster" and signed "The Rooster sings and the world becomes white" to boost morale.
Xu Beihong was also enthusiastic about helping underachievers. The famous painters Jiang Zhaohe, Wu Zuoren, Wang Linyi, Lu Sibai, and Fu Baoshi all received his guidance. He supported the progressive student movement. When the Central University student group "Wild Horse Club" was in extremely difficult times, he personally drew a picture of a galloping wild horse and gave it to the club, with the inscription "Naosu this world" on the painting. The poem "No matter how long the night is, there will be an end to the desert and desolation" encourages students to persist in the struggle and establish the belief that they will win.
In 1946, Xu Beihong and Jiang Biwei divorced due to many differences in interests, hobbies, outlook on life, etc. In the same year, he married his student Liao Jingwen.
After the founding of New China, Xu Beihong served as the president of the Central Academy of Fine Arts in 1950. In 1951, he suffered from cerebral hemorrhage and was hospitalized for 4 months due to overwork.
In 1953, Xu Beihong died of illness in Beijing Hospital. Zhou Enlai and Guo Moruo went to express their condolences.