Pan Yu-liang studied and lived in Paris for nearly half a century. During her lifetime, she was much esteemed by the Parisian art world and from 1945 to 1977, she won more than 21 awards, including 13 extremely prestigious ones. Pan's works can be found in the Asian art collections of well-known French museums, including Musee Cernuschi, Musee National d'Art Moderne and Musee d'Art Moderne de la Ville de Paris. When she passed away, she had bequeathed to the Anhui Museum several thousand of her original works and sketches, as a tribute to her native village. The Anhui Museum established a room for a permanent exhibition of her work and encouraged the study of her life and work.

Liu Haisu who was Pan Yu-liang's contemporary and good friend, once praised her saying that: "Pan Yu-liang's work has a robust content and her technique is practiced and steady. Her brushstrokes are bold and firm, without losing their lively sensitivity. She has no peers among fellow female artists¹" Paris' Asian Arts Centre director Vadime Elisseeff also commented in a special exhibition of Pan Yu-liang's works that: "Madam Pan should go with the trends of the times. However, she has not bowed to popular opinion in the art circles. Straddling between realism and abstraction, she uses Chinese calligraphy and painting to depict myriad subjects and providing a rich contribution to contemporary art²"

Museum of History researcher Mr Hu Yisin pointed out that Pan's works demonstrate techniques from the Fauvism and Impressionist schools of art but she seldom share their creative philosophy. This includes the main theme as well as the subject composition. Nevertheless, she always retained an individual style of her own which displayed the unmistakable characteristics of traditional Chinese painting³ Pan's portraits were influenced by the Fauvism master Matisse, including aspects such as the decorative floors and backgrounds, which created beautiful visual aesthetics. Pan's "Nude with Tulips" is a work of pastel hues, simple and elegant against the rose-colored floor. Pan's use of colors and positioning of the nude model is in the tradition of Western fine arts. However, the lines are of Eastern tradition - the iron lines and silver hooks have taken inspiration from the vigorous yet delicate style of Chinese calligraphy. This original combination has succeeded in producing the unique style of the artist.

1 Hu Yisin,'About Pan Yu-liang and Her Art' The Art of Pan Yu-Lin, National Museum of History, Taipei, 1995, p. 130
2 Ibid.
3 Deng Chaoyuan, 'Spirit of China, Outstanding Ink Paintings.' The Art of Pan Yu-Lin, National Museum of History, Taipei, 1995, p. 138