In the spring of 1929, Li was admitted as a
graduate student at the Hangzhou National Art College, where he studied
drawing and oil painting under the French teacher André Claudot.
During this period he developed a kind of abstract and structural style
in his oil painting that showed the influence of German Expressionism.
In 1932 he became a member of a leftist art organization, the Yiba Art
Society. That same year he left school and returned to Xuzhou, where he
had his first solo exhibition.
From 1934 Li began to experiment with figure painting in ink and wash.
During the period after the Sino-Japanese War, he began to paint
cowboys and water buffalo, endowing this traditional subject matter
with new significance by his use of an innovative technique of splashed
ink. Appreciation of his work, especially his figure paintings, grew,
and in 1946 he accepted an invitation by Xu Beihong (徐悲鴻) to join the faculty
of the Beijing National Art College. There the masters Qi Baishi (齊白石) and
Huang Binhong (黃賓虹) became his mentors. Qi, fond of Li and his painting,
applauded him as the most important painter in the
post-Qianlong-Jiaqing period.
After 1954 Li spent much time sketching from nature, claiming that
drawing was the first step towards a reformation of Chinese painting.
While he emulated ancient Chinese calligraphic traditions, his rigorous
training in oil painting also taught him to apply Western elements,
such as chiaroscuro, to his work. He is thus remembered as neither a
traditionalist nor a reformist, but rather as a pioneer who blended
these two trends in 20th-century Chinese art. In his later years, Li
attracted many students and followers, who formed the “Li School” of
the 1980s.