張新權(quán)的風(fēng)景畫在風(fēng)格上十分成熟，很有學(xué)院風(fēng)范。中國(guó)油畫在風(fēng)景題材上的表達(dá)，在很長(zhǎng)時(shí)間內(nèi)是寫實(shí)主義的，客觀敘事的比較普遍。從而使風(fēng)景畫只有題材性而無主題性，主要問題是缺少主體對(duì)風(fēng)景客體的獨(dú)特感受和理解。在語言上以自然為取法比較多，藝術(shù)家的主觀精神少。張新權(quán)的風(fēng)景藝術(shù)是屬于新一代風(fēng)景表達(dá)型的，他在藝術(shù)上的特征是注重自己對(duì)風(fēng)景的獨(dú)特意識(shí)，同時(shí)追求語言本身的獨(dú)立價(jià)值和地位。

——鄧平祥

The landscapes of Zhang Xinquan are quite mature and academic in style. Chinese landscapes, over the years, are realistic and narrative at large, and they are filled with stuff, rather than themes. The main cause for that might be the lack of unique perception and comprehension of sceneries by artists, who tend to focus on nature itself rather than express their own subjective perception. The landscapes of Zhang Xinquan, however, belong to a new style, which are expressive with sceneries. His style lies in his unique understanding of landscapes, and his pursuit of independent value of his artistic language.

-- By Deng Pingxiang