In his large catalogue of Chinese modern paintings, Robert Ellsworth wrote, "His [Shi Lu's (1919-1982)] roots were in wood-block cutting, and for painting and calligraphy he used a rough-bristled, long, pointed dry brush. He pushed its point and pressed the bristles into the paper, producing long triangular shapes resembling cuts in woodblocks. His total control of the brush enabled him to produce strokes ranging from the soft and sensual to the wild and brutal. At will he could strengthen or soften any subject." (Robert H. Ellsworth, Later Chinese Paintings and Calligraphy: 1800-1950, New York, 1986, vol. 1 p. 31.)