在臺灣女性膠彩畫家中陳進是頗具代表性的人物，她創作的範疇極廣，其中人物畫佔一大宗。而當中的閨秀畫更是極具個人代表特色，是陳進的一大創作主題，它紀錄了臺灣閨秀審美觀的變化。本研究乃查閱臺灣美術發展史後，發現女性畫家人才輩出，尤其是在1927年「臺展」舉辦後，培育眾多優秀畫家，其中膠彩畫家表現傑出，而女畫家亦不惶多讓，各有特色。每位畫家都有其個人的風格，風格的養成其來有自，諸如畫家的家庭教育、生活環境、師承對象或個人的性格，綜合上述因素使得每位畫家都有其特殊畫風。
本研究主要採文獻探討法、歷史研究法、風格研究法等研究法。首先，陳進出生自富裕家庭，並得到日本老師的薰陶，成為臺展膠彩畫的常勝軍。其次，將陳進與臺展入選之女性畫家逐一比較。透過陳進閨秀畫在不同時期展現的風格發現：留日時期的閨秀含有書卷氣息，回臺後融入地方色彩的閨秀，則有濃厚臺灣本土閨秀氣質，及至戰後民國時期又呈現出非常具有時代性的時髦女子，後期經濟起飛的閨秀不但具有時代性還兼具健康美，皆因時代的演進而有不同的變化。本研究發現不同時期的閨秀呈現相同的氣質，亦即柔和、溫婉、輕鬆、幸福。
由陳進(1932~1985)的創作可得知，陳進的閨秀畫乃臺灣美術發展史上第一人；在時間的推演中，呈現時代脈絡不同氣質的閨秀畫；且在家人、老師及丈夫的鼓勵下，堅持膠彩畫為一生志業，成為膠彩畫的擁護者。

In the history of Taiwan art, talented female painters are never absent. After the “Taiwan Art Exhibition” held in 1927, a lot of great artists emerged, including a group of outstanding gouache painting artists, among which female artists had an important position for their characteristics. Each of these female artists had her own unique style, which was established by her personality, her family education, living environment, and also by the teachers to whom she was introduced to.
Chen Jin was the most representative figure of women’s gouache painting artists in Taiwan. She created a large number of portraits, and the ladies painting was the major theme of her works, which also recorded the changes of aesthetics in Taiwan ladies. This study focuses on the female artists of the Taiwan Art Exhibition by means of literature review, historical research, style and shaped research, and then followed by comparing Chen Jin with other contemporary female artists.
This thesis will analyze the changing and development of aesthetics in beauty from Chen Jin’s artworks, which are characterized by a soft, gentle, and happy atmosphere. However, there are still variations in her styles created in different periods of time: during her stay in Japan in the early years, the ladies portraits appeared with academic feelings; then more local colors were blended in to create a stronger Taiwanese temperament. As for the post-war period, they changed into modern and fashionable looks, while in the last periods of her years, the ladies seemed to have a timely and healthy exquisiteness in the paintings. In terms of clothing in the paintings, Japanese kimono was the theme during her stay in Japan; while the pre-war period in Taiwan, the ladies appeared in Taiwanese suit-style clothing, and the post-war period in cheongsam. Chen Jin’s lading paintings were deeply affected by the popular aesthetics on beauty of her time. It can also be said that Chen Jin was a popular actress who speaks for Taiwanese ladies’ fashion.