祖籍福建省龙岩县。

1961年毕业于上海美术专科学校中专部。

1965年毕业于上海美专油画系。

1965-2006年在上海油画雕塑院从事油画创作，历任油画组长、副主任、副院长、院长。

1986-1990年为美国纽约普拉特艺术学院访问学者。

1999年至今任上海大学美术学院院长、教授，中国美术家协会理事，上海美术家协会副主席。

邱瑞敏作品

 2006年 《邱瑞敏油画选》由上海教育出版社出版。

2005年 油画《生生不息》被江苏美术馆收藏

2004年 油画《逸情》参加“第十届全国美展”被聘为第十届全国美展油画展评委；

2003年 油画《夏日情怀》参加第三届中国油画展；油画《张充仁肖像》陈列于张充仁艺术纪念馆；

2002年 任上海油画雕塑院院长；油画《小舟》参加“福建省博物院美术展”；享受国务院特殊津贴；

2001年 任中国美术家协会理事；12月出席第7次文联全国代表大会；

2000年 任上海欧美国学会理事、文艺分会副会长；

1999年 任上海美术家协会副主席、上海大学美术学院长；5月应邀赴荷兰访问，创作一批作品在上海、荷兰展出；被聘为第九届全国美展总评委；

1998年 任上海文学艺术联合会委员，再度出任上海油画雕塑院副院长；

1997年 油画《芭蕾舞》系列参加“上海百家精品展”；油画《芭蕾舞演员》参加“中国艺术大展”；

1996年 任中国油画学会常务理事；油画《水的系列》参加“96上海美术双年展”； 

1995年 由台北振乐艺术中心出版《邱瑞敏油画集》；

1994年 赴美国在纽约杰尔代尔画廊举办个人画展；

1993年 在台北举办个人画展；

1993年 油画《水的情怀》获“中国油画年展”铜奖；

1992年 油画作品赴香港参加“江南名家油画展”

1991年 加入上海欧美同学会，任留美分会副秘书长；油画《威尼斯》系列参加“上海油画雕塑院院展”；

1990年 应邀参加在华盛举办的“世界雕塑大会”；作品参加纽约苏霍画廊举办的“海峡两岸画展”；11月赴欧洲访问考察，于年底回国；

1989年 在纽约杰代尔画廊再次举办画展；出席普拉特学院“艺术价值”学术讨论会；与吴慧明合 作为联合国创作铜雕《升》；

1988年 再次应普拉特学院邀请作为访问教授进行讲学和交流；不再担任上海油画雕塑院副院长职务；

1986年－1987年 作为美国纽约普拉特学院访问学者赴美，同时在弗吉尼亚学院教授油画课程；在纽约杰代尔画廊举办个展，部分作品被美国收藏家收藏；

1985年 任上海油画雕塑院副院长，出席全国油画（黄山）会议，出席第五届全国美术家代表大会；油画《朦胧大地》、《医治》等参加上海油画雕塑院赴北京的画展，并为中国美术馆收藏；

1984年 任教于上海市工人文化宫美术学习班；参加“上海油雕室展览”；油画《默默地》参加“全国美展上海地区展”；

1983年 任上海油画雕塑创作室副主任。任教于上海美术家协会油画训练班；参加“上海八万人体育馆大型壁画”创作；画《炉旺心红》参加“上海市国庆美展”；

1982年 油画《烛光曲》、《幻想曲》等一批音乐题材作品参加“上海美展”；油画《旋律》赴北京展出；参加“上海十六铺、新客站大型壁画”创作；

1981年 应美国新闻总署邀请赴美访问、考察；油画《战火青春》、《五月的鲜花》参加“上海建军60周年美展”；

1980年 加入中国美术家协会；入中南海创作历史油画《共商大事》（与靳尚谊合作），并为中南海收藏；油画《战友》为中南海收藏；

1979年 赴浙江美术学（今中国美院）进修；油画《水仙》、《阳光与花》等参加“华东风景静物画展”；油画《大海召唤》参加“上海国庆30周年美展”；油画《深夜》为上海鲁迅纪念馆收藏；

1978年 加入上海美术家协会；油画《节节胜利》（与肖锋、宋秀英合作）为中国革命军事博物馆收藏；油画《待到雪化时》、《炉旺心红》参加“华东地区肖像画展”； 

1977年 油画《在党的一大会址上》（与陈逸飞合作）参加“全国美展”，并为中国美术馆收藏；

1976年 《战斗在罗宵山上》（与肖锋、宋秀英合作）参加“全国美展”；

1974年 油画《毛泽东在一大》参加“全国美展”；

1973年 在海运局深入生活，创作《女船长》；

1970年－1972年 借调文汇报画“革命样板戏”；

1968年 赴江西井冈山博物馆创作历史画；

1965年 入上海油画雕塑院从事油画创作，任油画组组长；

1962年－1965年 就读于上海美专油画系。师承吴大羽、周碧初、俞云阶、张隆基等先生；

1959年－1962年 就读于上海美专中专部绘画科，师承孟光等先生；

1944年4月27日, 出生于上海，祖籍福建龙岩；

 用色特点

邱瑞敏的色彩地域性具有江南那种湿润鲜嫩的特征。同样是绿色和蓝色，邱瑞敏的色度更为饱和与生猛，但这些纯色的运用并不飘浮或虚饰，这多半源于画家对于黑色的巧用。他很少使用粉墙黛瓦的“白色”，在意象光色中，他偏爱“暗里见亮”的色彩设置关系，这个“亮”不是粉墙的白色(他总是抑制粉墙白色的面积和亮度)，而是纯净的绿色、黄色和蓝色；这个“暗”也不仅是黑色，而是结构造型的坚实与密集。在意象油画中，邱瑞敏是为数不多的追求坚实意象造型的画家，他体现的是造型的“坚实”而不是“写实”。这说明意象油画并非不可以追求坚实的造型，和“意形”、“意色”的用笔之“松”一样，意象的“紧”也来自怎样用笔。邱瑞敏的“紧”出自他用笔的飞动性、速度感和连动反复性，由此形成了他笔性张扬、笔意峭拔的个性，他的“意象”往往是借现实感性之“象”的发挥而一吐胸中之块垒。

为艺术追索一生画家的作品，是他求索历程最真诚的坦露。从邱瑞敏油画的色彩趋向，不难看出画家不仅已从古典主义、俄罗斯绘画的影响下摆脱出来，而且具备了对印象主义、后印象主义色彩自由取舍的功力。从棕赭色调、银灰色调到交响闪烁的明亮画面，正是画家经历了痛苦的自省与更新后的豁然开朗，而潇洒的黑色线条中，又何尝不渗透着画家对中国传统文化的研摩与参悟。逾越了自我障碍的顿悟，和由此获得的纯真自由的艺术语言才是艺术创造的至上境界。

他珍惜传统，崇拜大师，经过了严格的训练，凭借灵气与勤奋，打下了从事油画艺术的扎实根基。如果以百年前飘洋过海，从西方取回油画艺术“真经”的先驱为中国第一代油画家；以半个世纪后，继而从俄罗斯绘画汲取养份，奠定了中国油画写实主义基础的前辈为中国的第二代油画家；那么，邱瑞敏与他的同代人，则是有幸同时受到两代前辈润泽的第三代中国油画家。不过，也正是在中国特定的历史、社会、文化条件下，当他们面对师长吴大羽、周碧助和颜文糅、俞云阶、张隆基等先生全然迥异的绘画风格时，无可选择地师从了后者，确立了自己油画语言的样式与范畴。

从艺术风格划分，邱瑞敏的油画显然是学院式的。他的被国家级博物馆长期陈列的大幅作品无不是昂扬着现实主义精神的力作，而那些作为习作的人体素描，也都结实、严谨，不尚飘渺。在表现普通劳动者的豪情与蕴藉着优雅氛围的音乐题材作品中，都不难见到他那细而不腻的造型手法和透明清澈的色泽，风景与静物则笔触厚实，崇尚力度……

如果说这前一个阶段的创作，证实了邱瑞敏的艺术天赋与功力，那么，之后的追求与创造，才更显示其修养与才质。面对画坛八面来风，当中国油画家重新审视自己在当代世界画坛的地位和责任时，邱瑞敏既未囿于一格，固守学院式的营垒，也未轻易改弦更张，制造出奇制胜的效果。凭着对艺术的挚爱与虔诚，他只是从自己的心底里，寻觅真正属于自己的纯真自由的艺术语言，并为之苦苦踯躅。所幸的是，他的求索是有着广阔背景的。他出席了值得载入中国油画发展史的85?黄山油画讨论会，参与了其后的中国当代油画展和上海首届海平线联展。新作中展示的中国画的空灵意蕴和情景交融的意境受到画坛的关注。而后的数度赴美考察、讲学与旅欧写生，更使他从观念到思维大大拓展，在潜意识的想象与审美观的升华过程中，获得了心灵主体与客观世界的神奇遇合。他的语言开始变得丰富、肯定、自由、热烈，在色彩的交织与线条的游移中自如地倾此热烈的情感。

邱瑞敏仍然立足于自身的基点上－－他的扎实的学院风格的基点上。但从他访美旅欧归来后潜心创作的一大批表现欧陆风情的作品中，不难发现他的艺术自我的苏醒。他确实经历了艺术的自省、更新和扩张的艰苦历程，在悟透了西方绘画色彩语言和中国传统绘画线条的基础上，开始以他自己的面貌去表现，而不是重视对象。夸大了的色彩与明暗对比使明亮的画面充盈着勃跃的生命力，稳健大胆的笔触组成了画面既奔放又富有韵律的动势。而最令人赞赏的是浓郁的黑线的运用，它突破了画家原来仅仅依赖面来表现对象的局限，用的驾轻就熟，不同凡响。这线条时而肯定、有力，不仅塑造了体积，而且令作品浑厚大气；时而虚实相生，与体、面有机融合，富有中国笔墨的韵致；时而又在强烈对比的冷暖色调中起到有力的协调作用。虽然西方现代绘画中不无线条的运用，但邱瑞敏的线条，确实透现出中国油画家的底蕴，具有中国的情、意、韵。

艺术观念

我追求的是“似与不似”，故着力于情感的真挚，画画的精神和气氛。出现的是一种朦胧的印象，而不是照相式的写真，似乎早年吴大羽和周碧初先生的影子在我心里的感应。一幅画最后完成的效果是轻松、潇洒、悦目的，但创作的过程却是几经曲折、反复琢磨的。

——邱瑞敏

 Qiu Ruimin was engaged in oil painting creation in Shanghai Oil Painting and Sculpture Institute from 1965 to 2006. He was successively the chairman, vice-chairman, vice-president and Dean of oil painting group. 1986-1990 Visiting Scholar, Pratt College of Art, New York, USA. Since 1999, he has been the dean and professor of the Academy of Fine Arts of Shanghai University, the director of the Chinese Artists Association, and the vice-chairman of the Shanghai Artists Association.

His ancestral home is Longyan County, Fujian Province.

Graduated from Shanghai Fine Arts College in 1961.

He graduated from the Oil Painting Department of Shanghai Academy of Fine Arts in 1965.

From 1965 to 2006, he was engaged in oil painting creation in Shanghai Oil Painting and Sculpture Institute. He was successively the chairman, deputy director, Deputy Dean and Dean of the oil painting group.

1986-1990 Visiting Scholar, Pratt College of Art, New York, USA.

Since 1999, he has been the dean and professor of the Academy of Fine Arts of Shanghai University, the director of the Chinese Artists Association, and the vice-chairman of the Shanghai Artists Association.

Color characteristics

Qiu Ruimin's regional color is characterized by the wetness and tenderness of the south of the Yangtze River. Also green and blue, Qiu Ruimin's color is more saturated and vigorous, but the use of these pure colors does not float or pretend, mostly because of the artist's skillful use of black. He seldom uses the "white" of the pink wall tiles. In the color of imagery light, he prefers the "bright in the dark" color setting relationship. The "bright" is not the white of the pink wall (he always suppresses the area and brightness of the pink wall white), but the pure green, yellow and blue; the "dark" is not only black, but also the structural shape. Solid and dense. In image oil painting, Qiu Ruimin is one of the few artists who pursue solid image modeling. He embodies the "solid" rather than "realistic" shape. This shows that image oil painting can not pursue a solid shape, and "ideographic" and "ideographic" with the "loose" of the pen, the "tight" of the image also comes from how to use the pen. Qiu Ruimin's "tightness" comes from his flying, speed and repetitiveness of his pen, thus forming his personality of publicizing his brushwork and steep brushwork. His "image" is often a bulwark in his chest through the exertion of the "image" of realistic perception.

The works of a painter who pursues his life for art are the most sincere confession of his pursuit. From the color trend of Qiu Ruimin's oil paintings, it is not difficult to see that the painter has not only got rid of the influence of classicism and Russian painting, but also has the ability to choose freely the color of Impressionism and post-impressionism. From the brown ochre tone, silver-grey tone to the symphonic shining bright picture, it is the painter who has experienced painful self-examination and renewal of the sudden enlightenment, and the smart black lines, but also permeate the painter's study and understanding of traditional Chinese culture. The supreme realm of artistic creation is the artistic language that transcends self-obstacle and acquires purity and freedom from it.

He cherished the tradition and worshipped the masters. After strict training, he laid a solid foundation for oil painting art by virtue of his spirit and diligence. If the first generation of Chinese oil painters were the pioneers who crossed the sea a hundred years ago and retrieved the "True Classic" of oil painting from the West, and the second generation of Chinese oil painters were the predecessors who laid the foundation of realism of Chinese oil painting after half a century and then drew nutrients from Russian painting; then Qiu Ruimin and his contemporaries were the same. Fortunately, the third generation of Chinese oil painters who were moistened by two generations of predecessors at the same time. However, it is precisely in the specific historical, social and cultural conditions of China that when they face the totally different painting styles of teachers Wu Dayu, Zhou Bizhu and Yan Wenxuan, Yu Yuntian and Zhang Longji, they have no choice but to follow the latter and establish their own style and category of oil painting language.

From the artistic style division, Qiu Ruimin's oil painting is obviously academic. His large-scale works exhibited by national museums for a long time are all masterpieces with realistic spirit, and those sketches as exercises are solid, rigorous and not yet vague. In the works of music themes expressing the pride of ordinary laborers and embodying elegant atmosphere, it is not difficult to see his delicate and delicate modeling techniques and transparent and clear color, while the scenery and still life have solid brushwork and advocate strength...

If Qiu Ruimin's artistic talent and ability are confirmed by his creation in the previous stage, then his pursuit and creation will show his accomplishment and talent even more. When Chinese oil painters re-examine their status and responsibilities in the contemporary world of painting, Qiu Ruimin is neither confined to a single frame, adheres to the academic camp, nor easily changes his chord to create a surprising winning effect. With his devotion and devotion to art, he only sought his own pure and free artistic language from the bottom of his heart and lingered bitterly for it. Fortunately, his quest has a broad background. He attended the 85? Huangshan Oil Painting Symposium, which is worthy of being included in the history of Chinese oil painting development, and participated in the subsequent China Contemporary Oil Painting Exhibition and the first Shanghai Sea Level Line Joint Exhibition. The artistic conception of the empty implication and the blending of scenes of Chinese painting displayed in the new works has attracted the attention of the painting circle. Later, he went to the United States for several times to study, lecture and sketch in Europe, which greatly expanded his mind from concept to thinking. In the process of subconscious imagination and aesthetic sublimation, he obtained a magical meeting between the subject of the soul and the objective world. His language began to become rich, affirmative, free and enthusiastic, freely pouring this warm emotion into the interweaving of colors and the moving of lines.