[1] When Gao Jianfu was thirteen, he entered the studio of Chinese artist Ju Lian in Lishan, and for the next seven years he acted as his apprentice.

During his time with Ju Lian, Gao Jianfu painted in a similar style as his master: bright, colorful, and realistic.

[3] At Ju Lian's studio, Gao Jianfu became close friends with Chen Shuren, a fellow artist.

"[1] Jianfu became interested in the syntheses of Western and traditional approaches, which were parallel to work in the contemporary Japanese art world.

His art mainly reflects the work of nihonga painters like Kano Hogai, Hashimoto Gaho, and Takeuchi Seiho.

[3] In the 1920s, Jianfu's paintings showcased elements of "realism derived from Western art," as well as traditional Chinese ink and brushwork.

The series of airplane paintings showcased a banner with Sun Yat-sen's slogan, "Aviation to Save the Country."

"[1] Throughout his time in Macao during World War II, Jianfu painted Skulls Crying over the Nation's Fate.

[3] In 1929, Jianfu was accused of anti-foreign sentiments during his time as the chief organizer of the government's first National Art Exhibition held in Nanking.

He suggested that national painting abandon the "elitism" of traditional art, and engage more directly with the Chinese public.