综观阳泉美术创作之现状,中国山水画发展形势喜人,现已形成阳泉美术创作的主流;人物画相对滞后,尤其淡化了严肃的主题性创作研究;油画创作不太景气,急功近利的浮躁心态制约了油画艺术的学术氛围;版画创作严重滑坡,版种单一且创新意识薄弱;水彩画、水粉画创作研究比较活跃,艺术水平有待提升;其它画种除岩彩画初露端倪外,普遍较弱。此外,还存在轻视花鸟画的艺术功能和忽视工笔画创研的倾向。改革开放以来,特别上世纪九十年代中国山水画在阳泉迅崛起,涌现出诸如刘佩乙、张四春、张登魁、秦明强、李廷惠、孙鸿骏等为代表的一批山水画家,艺术成果十分喜人,多次参 In the light of the current situation of Yangquan’s art creation, the development of Chinese landscape painting is gratifying. Nowadays, the mainstream of Yangquan’s art creation has been formed; the figure painting has lagged behind, especially the serious theme creation research; oil painting is not very prosperous, The academic atmosphere of art; the severe landslide of printmaking, the single version of edition and the weak sense of innovation; the study of watercolor painting and gouache creation is more active and the artistic level needs to be improved; the other paintings are generally weaker than the first appearance of rock painting. In addition, there is also a tendency to underestimate the artistic function of flowers and birds painting and neglect the creation of fine brushwork. Since the reform and opening up, especially in the 1990s, the landscape paintings in China rose rapidly in Yangquan. A group of landscape painters such as Liu Peiyi, Zhang Sichun, Zhang Tengkui, Qin Mingqiang, Li Tinghui and Sun Hongjun emerged. The artistic achievements are very gratifying. Many times