葉公超，為著名學者暨外交家，民初「新月派」代表人物之一，曾先後出任中華民國外交部 長、駐美大使、總統府資政等要職，除了在外交上有相當重要的表現之外，對於藝術創作也有其 特殊地位，其藝文活動可概分為兩個階段，前期為1926年返國任教各大學期間，後期則是1961 年以後卸下官職的晚年生活。葉公超幼年曾受傳統的詩詞與書畫教育，喜繪蘭竹，書法以褚字見 長，留外求學時則致力於英詩與文學理論。返國後，除教授英詩、翻譯文學之外，更熱衷於文學 批評，曾先後參與編輯《新月》與《學文》雜誌，提倡文學創作與批評理論。中年以後，因卸下 官職，而得以致力於藝術創作，並從早期的文學創作與批評，轉為傳統文化的書畫創作，並舉行 個展以及參與畫會聯展，同時藉由書畫的創作表現出内心的狂狷、感傷等等的各種情懷。藉由葉 公超對於藝術觀與書畫創作，可以理解藝術對生活的陶冶與涵養，並可作為生活自娛與精神寄託 的重要途徑。葉公超一如張大千、郎靜山等戰後來臺的藝文人士，除了持續藝術創作之外，更延 續傳統中國文人生活風格的典範，進而成為臺灣美術的奠基者，並有著承擔臺灣美術延續與發展 的諸多貢獻，更是臺灣美術的重要文化資產。

George K.C. Yeh was a renowned scholar as well as diplomat, and was also a representative of “New Moon School” of early republic. He has taken some important positions such as minister of foreign affairs, ambassador to Washington, Senior Advisors to the Office of the President of the Republic of China. Except such an extraordinary diplomatic achievement, he also has a specific position in terms of artistic creation. His liberal activity is divided into two periods: the first period is teaching at universities after 1926, and the second, the retirement life after 1961. Yeh had taken traditional poetry and calligraphy-painting education. He was interested in painting orchid and bamboo and his calligraphic style is CHU Suiliang. However, he dedicated to English poetry and literature theories when she studied abroad. After returning his country, he was even eager in literature criticism. He had edited magazines of “New Moon” and “Learning Literature”，promoting literature creation and criticism theory. After at the middle-age, being relieved of this office, he dedicated to the creation of calligraphy and painting. He held solo exhibitions and attended joint art exhibitions. By way of creation of calligraphy and painting, he expressed the wilderness and sadness in his mind. The cultivation of art to live is a quintessential approach to understand his life and spirit. Like masters Zhang Daqian and Long Chin-san, he is one of the models of Chinese literati life style in Taiwan. The development of culture and the manipulation of cultural capital reveal a multi-layered connotation of “Chinese art in Taiwan”，which is also an indispensible part of Taiwan cultural heritage.