The fine arts educational efforts of the early Republican artist Lin Feng-mian were founded at the Hangchow National Art Academy, where Lin gathered together a group of artists educationed in France and Japan to implement their notion of a modern Chinese art movement. The present paper analyzes the essays published by these artists in the academy's journal Apollo, as well as the activities of their Art Movement Society. Of the essays published in the Apollo, those by Lin Feng-mian, Lin Wen-cheng, and Li P'u-yüan are the most important. Lin Feng-mian wrote from a purely creative perspective, advocating the blending of Eastern and Western art. He noted the advantages of integrating the fine arts of the West while simulateously reordering the traditional arts of China, thereby establishing the two channels which would fuel the production of the new Chinese art. Lin Wen-cheng sought to borrow from the model of Greek civilization, believing that in the future, Chinese artistic achievement would be founded in the diverse fields of poetry, drama, painting, carving, and even architecture, rather than arising from a single given media. Li P'u-yüan approached the history of Chinese art from a materialist perspective, emphasizing the importance of material civilization and criticizing literati painting's notions of withdrawing from nature. He hoped that artists would be able to reflect on the development of modern material civilization and focus on the description of outer forms. The activities of the Art Movement Society reveal the concrete creative endeavors of the artists. The society held a total of four painting exhibitions, the content of which aimed to demonstrate their theoretical positions on art. The spirit of these exhibitions was two-sided: One, they reflect an effort at stylistic diversity, as seen in the distinctive compositional techniques, media, and colors ued by each artist. Two, they were experimental, as seen most clearly in the works of such artists as Lin Feng-mian, Wu Ta-yü, and Ts'ai Wei-lian.