After graduation in 1927, he made a self-portrait. Zhang's head and chest were in line, looking at himself piercingly. The fashionable hair was blowing up to the left forehead, and he was wearing a black robe.

The tall nose makes the appearance look deeper, and the rigid lines and the contrast of light and shade make Zhang Qiuhai look more determined and more courageous to face challenges

Completed in 1927, the painting captures the posture of the model combing her hair in front of the mirror. In order to understand and describe the lines and contours of the woman, he asked the female model to pose in various graceful line poses, and in order to practice in the two-dimensional space, showing three-dimensional The perspective skills of the space, adding a lot of furniture, such as: curtains, beds, chairs, mirrors and so on. This human body work is particularly focused on the creation of space. The chair where the woman sits and the wall behind are one space, and the reflection of the other wall from the mirror implies another space.

Completed in 1928, this painting uses overlapping brushstrokes to present a more solid sense of volume. The slightly drooping neck and breasts of the model facing the viewer inward form another inner world that the viewer cannot disturb, forming an abstraction. Realistic space.

Completed in 1930, it was Zhang Qiuhai who used his wife as a mother as the object of depiction. He carefully stacked the colors and textures of things. If you admire them, you will find that he used the expressions of the characters and the contours of the faces when creating. It is revealed from his brushes that they often present the most unpretentious visual sense. On the edge of the figure, there is a black line that seems to be missing, walking in the undulating space, suggesting the three-dimensional change of the shape and strengthening the language of a woman's portrait.

In the fine-tuned light and shadow changes, the woman's slightly rosy cheeks opened and closed, and her eyes looked thoughtfully to the ground, which made people feel the sophisticated look after the storm.

This is one of the highlights of Mr. Zhang Qiuhai's work. There is no gorgeous decoration, such an ordinary painting, but through the look in the painting, it reveals an extraordinary life.

In 1939, due to the death of his mother, Zhang Qiuhai returned to Taiwan for the funeral from Beiping (the name at the time). During his return to Taiwan, he painted a portrait of his father. But this trip back home also became Zhang Qiuhai's last journey on the land of his hometown.

Around 1956, Zhang Qiuhai's brushwork became more confident and flexible, and his use of colors became more varied and varied.

In the painting, the artist is depicting an old man with a white beard, using a finer and smoother brushwork, mainly yellow and brown. The old man’s silver hair and thin and sunken face are drawn in one stroke. The black outline of the shape gradually disappeared, breaking away from the shackles of the outline, and using color to portray the story in the painting.