W u Dayu is considered the pioneer of Chinese abstract oil painting. As early as 1922, he traveled to Paris, France and studied at the prestigious École Nationale Supérieure des Beaux-Arts, where he was exposed to various modern Western art movements such as Fauvism and Cubism, laying the foundation for his exploration of Chinese modern art. Upon his return to China, Wu Dayu founded and taught at the Hangzhou National Art Academy (today's China Academy of Art), where he nurtured an exceptional group of students who would go on to achieve global success as celebrated Chinese artist. Among them were masters such as Zao Wou-Ki, Chu Teh Chun, and Wu Guanzhong. In the 1940s, Wu Dayu introduced his groundbreaking artistic theory known as "Shixiang" (Dynamic Expressionism), which he conveyed to his students through correspondence, providing important inspiration and guidance to abstract masters like Zao Wou-Ki and Chu Teh Chun. In terms of forward-thinking and influences during the same period compared to the rise of American Abstract Expressionism and French Lyrical Abstraction, Wu Dayu's theory of "Shixiang" represents a significant presence in Chinese modern abstract art, standing alongside Western abstract art movements.After the outbreak of the Anti-Japanese War, Wu Dayu settled in Shanghai and continued his artistic creation. However, it wasn't until 2006 that the artist's extensive body of work began to be gradually unveiled. This was made possible through the publication of his collects ion of paintings, Wu Dayu, which shed light on his artistic journey. Subsequently, the Taipei Museum of History held a solo exhibition for him in 2007, further showcasing his artistic legacy. In 2015, the publication of Wu Dayu's Work collects ion further provided a comprehensive presentation of his artworks.

In addition to these important publications, a wealth of Wu Dayu's manuscripts can be found in his recently published correspondence collects ion, Teacher-Student Morality, as well as his poetry collects ion, Poems of Wu Dayu, and literature compilation, Literature Compilation of Wu Dayu. These invaluable resources greatly contribute to the study of Wu Dayu's artistic concepts and the development of Chinese modern abstract art.

Untitled-19 stands as the pinnacle of Wu Dayu's artistic achievements, serving as a classic embodiment of his artistic theory of ‘Shixiang’ (Dynamic Expressionism). While the composition of the artwork is highly abstract, its elements are rooted in the natural universe, showcasing the artist's intention to extract abstract beauty from the figurative world. Upon viewing the painting, one may notice the vibrant aura exuded by the blossoming flowers depicted within. During the 1920s, Wu Dayu studied under the French sculptor Antoine Bourdelle and the founder of Cubism, Georges Braque. Consequently, his works are infused with distinct sculptural and three-dimensional qualities. The richly patterned imagery and densely arranged structure in Untitled-19 reflect the artist's undeniable passion. In addition to the influences of Western modern sculpture and Cubism, Wu Dayu's works bear the imprint of Chinese traditional art. It was the colorful masks of Beijing Opera that inspired his inclination towards employing saturated and vivid color tones consistently throughout his works. In Untitled-19, the interplay between dark and light colors creates a dramatic contrast, profoundly capturing the vitality of life through the artist's eyes. Simultaneously, the dynamic and ever-changing lines in the artwork intersect and blend with colors, lending a sense of depth and motion to the overall images and showcasing the distinctive vitality evident in Wu's works.

吳大羽是中國抽象油畫的奠基人；早在1922年，他前往法國巴黎國立高等美術學院學習，在接受野獸派、立體派等現代歐美藝術主義的啟發下，開啟了對中國現代藝術的探索。在學成回國後吳大羽成立並任教於杭州國立藝術學院，他的學生包括趙無極、朱德群、吳冠中等一眾日後將享譽世界的華人藝術家。吳大羽在四〇年代提出「勢象」的藝術理論，並通過書信，傳授於他的學生們，對趙無極和朱德群等抽象大師起了重要的啟示及引導作用。與同一時期興起的美國抽象表現主義、法國抒情抽象主義相比，從時代前瞻性和影響性而論，吳大羽的「勢象」藝術理論可代表中國現代抽象主義與歐美抽象主義鼎足而立。吳大羽在抗戰開始後位居上海，進行低調創作。直至2006年後，在2006年出版《吳大羽》畫冊、2007年台北歷史博物館舉辦的《吳大羽畫冊》、以及2015年出版《吳大羽作品集》的紀錄下，才能全面展現藝術家創作面貌。而近年出版的吳大羽信集《師道》，詩集《羽詩》及文獻集《吳大羽文獻集》所呈現的大量吳大羽手稿，對研究吳大羽的藝術觀念以及中國現代抽象藝術的發展有著極大的幫助。

《無題 - 19》乃吳大羽藝術巔峰之作，是藝術家「勢象」藝術理論的經典詮釋。本作的構圖有著高度的抽象性，卻在自然宇宙中有跡可循，突顯出藝術家從具象世界中萃取抽象之美的創作主旨；細閱作品時畫面若現怒放的鮮花，彰顯出朝氣蓬勃的氣勢。吳大羽在一九二〇年代曾追隨法國雕塑大師布德爾（Antonie Bourdelle）和立體主義創始人喬治·布拉克（Georges Braque）學習，因此他的作品極具雕塑性和立體性。《無題 - 19》畫面豐滿，結構緊密，盡顯藝術家滿溢而出的激情。除了西方現代雕塑和立體派的影響，中國傳統藝術對吳大羽的啟發亦在他的作品中有跡可循；吳大羽的作品一貫用色飽滿生動，正是受到京劇中多彩的臉譜啟發。《無題 - 19》中的深淺色彩相互襯托，極具戲劇性，深刻體現出藝術家眼中生命的活力。本作線條亦豐富多樣，與色彩相互碰撞、交融，使得整個畫面更有立體感和躍動感，突顯出吳大羽作品中特有的生機。