中国古代艺术史上女画家较少,该现象一直持续到19世纪末20世纪初。随着近代女性解放运动和女子艺术教育的发展,女画家越来越多。她们积极参加社会活动,不断现身社会公共空间。1929年全国美展中,近百位女艺术家首次集体亮相,成为该展的一大亮点。参展者多为受过学校教育的知识女性,并拥有体面的社会职业,是经济自立的新女性。她们基本代表了20世纪二三十年代女画家的真实生存状态。另,女画家的参展作品具有明显从传统到现代的过渡特征,当然也不乏时代创新性。全国美展的权威性和公开性,一则强化了女画家对其主体身份的自我认同,同时也提高了她们在美术界的地位和影响。本文认为,美展是近代女画家走出传统私密闺阁,走向社会公共空间的重要媒介和平台之一。。 There are fewer female painters in the history of ancient Chinese art, which lasted until the late 19th and early 20th centuries. With the development of modern women’s liberation movement and women’s art education, there are more female painters. They actively participate in social activities, continue to show their social public space. In 1929 National Art Exhibition, nearly a hundred female artists debut collective debut, becoming a highlight of the show. Most of the exhibitors are female educated women and have decent social work. They are new women who are economically independent. They basically represent the true living conditions of female painters of the 1920s and 1930s. In addition, the works of female painters have obvious transition characteristics from traditional to modern, of course, there is no shortage of innovative age. The authority and openness of the nationwide art exhibition reinforce the self-identity of the female painters in their identity and at the same time enhance their status and influence in the fine arts world. This paper argues that the art exhibition is one of the most important media and platforms for modern female painters to walk out of the traditional private boudoir and move toward the public space of society. .