陳銀輝先生1931年出生於嘉義縣鹿草鄉，年幼甫能握筆，即伏案塗鴉樂在其中。藝術天份於就讀嘉義高中時展露無遺，深受美術老師吳學讓先生賞識，特予指導奠定深厚繪畫基礎。其對藝術的執著可由捨臺大工學院，而至師範學院藝術系（現師大）就讀可見。在學期間受前輩藝術家陳慧坤、馬白水、廖繼春、趙春翔、孫多慈等多位老師薰陶。畢業之後，1957年應當時藝術系主任莫大元先生力邀返校任教，此後在藝術教育崗位奉獻近40年，並且戮力創作，曾舉行個展40次，作品廣為國內美術館及中外藏家收藏，也曾獲「中山文藝創作獎」、「吳三連藝術獎」、「行政院文建會文馨獎」等諸多榮譽。
陳銀輝先生回母校任教之初，正值國內訴求創新的現代繪畫運動蓬勃發展，當時畫壇形成新舊對峙之態，在新舊爭執中，陳銀輝先生以鎔舊鑄新的方式，試圖在傳統與現代之間，尋求創新突破，開創個人藝術風貌；他不以前輩藝術家的學院訓練為限，乃從中學習各式創作語彙之精萃；也不隨流仿新，而是擇取適合個人特質的表現形式，舉凡表現主義的主觀表現、野獸主義之奔放色彩、立體主義的造型觀念、超現實主義的幻想空間以致抽象藝術的構成與音樂性，都是他汲取表現的對象。油彩為其主要創作媒材，作品風格介於抽象與具象、感性與理性之間。強調二個主要內容：一是寫生性表現，乃是對自然之禮讚，二為構想性表現，題材多元，舉凡人物、靜物、風景或是老舊景物皆可入畫，主要是寫景抒情，表達個人生命與宇宙交融之各式情境，及情感靈性的豐富內涵。
Chen Yin-huei was born in 1931 in Lucao Township, Jiayi County. As a child he was already adept at drawing, and would cheerfully doodle hunched over his desk. His natural gift for art continued to grow at Jiayi High School, where his art teacher Wu Hsueh-jang recognized his talent and gave him a deep foundation in painting. Chen's strict commitment to art started from the time he forwent admission to the College of Engineering at National Taiwan University and entered the art department at Taiwan Provincial Teacher's College (now National Taiwan Normal University). At school, he received training from senior generation artists Chen Hui-kun, Ma Bai-shui, Liao Chi-chun, Chao Chun-hsiang and Sun Duo-ci. After graduating in 1957, Chen Yin-huei was persuaded by the director of the art department, Mo Da-yuan, to return and accept a teaching post at Taiwan Normal University. After this, Chen embarked on a nearly forty-year teaching career, while endeavoring to create his paintings and hold forty exhibitions. His works have been widely collected by Taiwan's museums, as well as collectors abroad, and he has been awarded the Chung-Shan Literary Arts Award, Wu San-Lien Creative Arts Award and Arts & Business Awards, Council for Cultural Affairs, Taiwan
The modern painting movement took off in Taiwan soon after Chen Yin-huei returned to his alma mater to teach, and at the time, the new and old painting worlds stood in inimical confrontation. Chen Yin-huei took up the position of using the old to forge the new in this conflict, and searched for a creative breakthrough and his own artistic style between the two sides. Chen still used the finest of the artistic vocabulary he acquired from the old guard, but did not limit himself to his academy training; nor did he simply imitate new trends, but rather adopted expressive forms that suited his unique artistic temperament, ranging from the subjectivity of Expressionism, the uninhibited colors of Fauvism, the sense of form from Cubism and the dream space of Surrealism. The result was all that constituted abstraction in art or musicality became sources for his artistic expression. Oil paint has been Chen's main medium, and the style of his paintings lies between abstraction and representation, as well as between sense and sensibility. Chen has emphasized two themes in his work: drawing and painting from direct observation which praises the wonders of nature; and conceptual works with multiple motifs, from figures to still lifes and scenery, including picturesque scenes of bygone eras. His scenes are mainly emotive, expressing the various intersections between his own life and the universe, which reveal his deep emotional and spiritual intelligence.
陳銀輝先生回母校任教之初，正值國內訴求創新的現代繪畫運動蓬勃發展，當時畫壇形成新舊對峙之態，在新舊爭執中，陳銀輝先生以鎔舊鑄新的方式，試圖在傳統與現代之間，尋求創新突破，開創個人藝術風貌；他不以前輩藝術家的學院訓練為限，乃從中學習各式創作語彙之精萃；也不隨流仿新，而是擇取適合個人特質的表現形式，舉凡表現主義的主觀表現、野獸主義之奔放色彩、立體主義的造型觀念、超現實主義的幻想空間以致抽象藝術的構成與音樂性，都是他汲取表現的對象。油彩為其主要創作媒材，作品風格介於抽象與具象、感性與理性之間。強調二個主要內容：一是寫生性表現，乃是對自然之禮讚，二為構想性表現，題材多元，舉凡人物、靜物、風景或是老舊景物皆可入畫，主要是寫景抒情，表達個人生命與宇宙交融之各式情境，及情感靈性的豐富內涵。
Chen Yin-huei was born in 1931 in Lucao Township, Jiayi County. As a child he was already adept at drawing, and would cheerfully doodle hunched over his desk. His natural gift for art continued to grow at Jiayi High School, where his art teacher Wu Hsueh-jang recognized his talent and gave him a deep foundation in painting. Chen's strict commitment to art started from the time he forwent admission to the College of Engineering at National Taiwan University and entered the art department at Taiwan Provincial Teacher's College (now National Taiwan Normal University). At school, he received training from senior generation artists Chen Hui-kun, Ma Bai-shui, Liao Chi-chun, Chao Chun-hsiang and Sun Duo-ci. After graduating in 1957, Chen Yin-huei was persuaded by the director of the art department, Mo Da-yuan, to return and accept a teaching post at Taiwan Normal University. After this, Chen embarked on a nearly forty-year teaching career, while endeavoring to create his paintings and hold forty exhibitions. His works have been widely collected by Taiwan's museums, as well as collectors abroad, and he has been awarded the Chung-Shan Literary Arts Award, Wu San-Lien Creative Arts Award and Arts & Business Awards, Council for Cultural Affairs, Taiwan
The modern painting movement took off in Taiwan soon after Chen Yin-huei returned to his alma mater to teach, and at the time, the new and old painting worlds stood in inimical confrontation. Chen Yin-huei took up the position of using the old to forge the new in this conflict, and searched for a creative breakthrough and his own artistic style between the two sides. Chen still used the finest of the artistic vocabulary he acquired from the old guard, but did not limit himself to his academy training; nor did he simply imitate new trends, but rather adopted expressive forms that suited his unique artistic temperament, ranging from the subjectivity of Expressionism, the uninhibited colors of Fauvism, the sense of form from Cubism and the dream space of Surrealism. The result was all that constituted abstraction in art or musicality became sources for his artistic expression. Oil paint has been Chen's main medium, and the style of his paintings lies between abstraction and representation, as well as between sense and sensibility. Chen has emphasized two themes in his work: drawing and painting from direct observation which praises the wonders of nature; and conceptual works with multiple motifs, from figures to still lifes and scenery, including picturesque scenes of bygone eras. His scenes are mainly emotive, expressing the various intersections between his own life and the universe, which reveal his deep emotional and spiritual intelligence.