用画笔参与救亡运动 1931年,日本帝国主义在制造了震惊世界的“九·—八”事变,侵占我东北三省之后,又处心积虑地推行什么所谓“华北自治”,以实现其征服中国、称霸世界的美梦。此时的卫天霖已回国数载,先后执教于中法大学和北平艺术学院。他原本希望在油画的民族化方面作一番深入的探索,并创作了《童戏图》、《圣贤菩萨》和一大批风景静物画。然而,在国难当头、民族生死存亡之秋,他又怎么能把自己关在小小画室中,去进行什么油画的民族化的探索啊！长城抗战的枪声更使他感受到民族存亡的危机。时任北平艺术学院院委兼系主任的卫天霖,同京津画家们一道,发起了一次义展义卖活动,希望能为抗日爱国将领们募集到一部分捐款,聊表画家们的 Participate in the Salvation Movement with Brushes In 1931, after the “September 8” incident that shocked the world was created by the Japanese imperialists and seized and occupied the three northeastern provinces, they also deliberately pushed forward what they call the “North China Autonomy” to realize its conquest of China and the domination of the world Sweet dreams. At this time Wei-Lin has been back to the country a few years, has coached at the China University of French and Peking Art Institute. He originally hoped to make an in-depth exploration of the nationalization of oil painting and created “Childhood Figure”, “Sage and Bodhisattva” and a large number of landscape still life paintings. However, in the wake of the national crisis, the national life and death of autumn, how can he shut himself in a small studio, to explore what nationalization of oil ah! The gunfire of the Great Wall Anti-Japanese made him feel the crisis of national survival more. At that time, Wei Tianlin, member of the academy commissioner and director of Beiping Art Institute, together with Beijing and Tianjin painters, initiated a charity bazaar in the hope of raising part of the donations for anti-Japanese patriotic generals and chatting with artists