Of course, I must mention Guo Beiping's massive human works, which are divided into two parts. Part of it is a classical female body. They are arranged by painters in dreamy natural scenes, but the characteristics of studios can also be seen, such as Anxi Random Thoughts (1993), Heritage City (1994) and Broken City Dream (. In these works, the combination of characters' light and shadow modeling and background actually shows some mismatched spatial logical relationship, which puzzles us. These classical female bodies stretch their postures in the natural environment. Although there has been such a composition history in the history of western classical oil painting, there are canvases of different colors under it, which still reveal traces of artificial composition. According to Guo Beiping's self-report, he has many human works, which are not the result of sketching in the studio, but written silently on the canvas with years of sketching accumulation and visual experience. This shows the painter's solid characterization ability, but also reveals some traces of conceptual creation. In this regard, I prefer to think that this is a painter consciously sketching from things, a practical way to strengthen the subjectivity of painting in silent painting. I have to admit, I don't like such works as Mountain Spring (1992) (although this is only a few in Guo Beiping's paintings), not only because of the sweetness of the works, but also because of the general paleness and emptiness of college oil paintings that are divorced from life.