(1943.9—)原名王守信，号独天斋主，字问溪亭茶客，安徽合肥人。1967年毕业于安徽师范大学艺术系。1981年毕业于浙江美术学院国画系研究生班。曾任安徽省书画院副院长，安徽美协副主席。现为中国安徽画院院长、中国美术家协会理事、安徽省美协主席、国家一级美术师、享受国务院特殊津贴。1985年应邀赴美国关岛主办画展，1986年在北京美术家画廊举办个人画展，1987年应邀赴联邦德国举办“安徽现代中国画展”，1988年赴新加坡讲学和举办个人画展，1993年应邀赴泰国、韩国访问，并举办“韩、中书画交流展”。作品多次入选国内外专业大展并获奖收藏。先后应邀赴美国、德国、新加坡、泰国、韩国、日本举办画展和讲学。作品有《最后一碗炒面》、《复苏的大地》等。出版有《王涛人物画》、《王涛作品选集》、《王涛画集》，评论家论其作品题材广泛，意境深沉，墨彩交融，挥丽豪放，画面构成的气势和力度表达了个人情感和现代意识的吻合。

王涛画品

 万峻池（书画鉴赏、《藏真》杂志主编）：王涛的英雄情结、诗人气质、忧患意识和创作心态。从他的作品中，我们可以咀嚼到幽默、辛辣。品尝到飘逸、灵动，感悟到信念，良知。他是善用和善变的，也是唯美和唯真的。 

方增先（上海美术家协会副主席）：王涛的成功之处在于“不是练笔的结果，而是思想的结果”。 

叶浅予（中国美术家协会副主席）：安徽画家的《庄周梦蝶》，其构思和立意都不同寻常。 

李震坚（浙江美术学院教授）：画家王涛，一向钟情于“象外之象”的神韵境界。其豁达的品性，伴随着豪放的风格，充盈其中，使其作品散发着雄浑奇纵、峥嵘壮阔的气魄。富有蓬勃的时代精神和鲜明强劲的东方力度。 

刘勃舒（原中国画院院长、中国美协副主席）：云龙远飞驾，天马自行空。王涛先生是我中国画坛不可多得的人材，他的作品笔墨峻拔，秀雅清新，画法肃然绝俗，简淡、古雅，神融意适，得形、神、气于理法之中。 

吴杨（北京作家）：王涛带领他的画家团队默默无闻，甘于清贫。在浮躁浅薄的时代风潮中，坚持扎根本土文化，坚持清新纯粹的绘画风格，不跟风、不攀比、不气馁。

柳新生（中国美协水彩画艺委会委员）：王涛牢牢地站在东方艺术的大地上做出自己的选择，西方艺术家的某种激情唤起了长期沉睡于他心底的真实感情，溶化到他的东方式的笔墨线条之中。 

贾德江（北京工艺美术出版社社长兼主编）：王涛不仅是一位豁达洒脱的艺术家，同时也是一位深谋远虑的思想家，他会在他所热爱的艺术对话中，进一步涵养他的浩然正气。进一步把笔墨化为人格，把人格化为笔墨，以现代人精神去创造中国写意人物的前途。 

徐恩存（中国美术杂志社主编）：近几年，王涛的思想日渐深入，笔墨日渐成熟，艺术境界日渐提升。所作人物画，不论取材古今，都洋溢着浓郁的文化气息。或许画家太热爱自已的故土，他始终以欢快的旋律、亮丽的色彩、饱满的墨色营造着心灵世界的图景。 

曹玉林（《振风》杂志主副编）：作为写意人物画创作的重要代表，王涛的人物画有着多方面的成就，其融铸造传统，重开生面的写意精神和格高品正，精神豪放的笔墨境界，乃当代人物画创作中的新进展和新收获。 

欧阳中石（首都师范大学教授）：“青檀兮五色，玉版见三光。”——庚午书赠王涛。

 写意人物画自南宋梁楷以来，虽江山代有才人，但并未得到长足的发展，不像山水、花鸟画那样不断推陈出新，达到了艺术的巅峰。这一是由于当时的世风推崇，山水、花鸟更适合文人们借以表达内心的诉求；二是因为当时的社会环境和市场对写意人物画没有很大的需求，造成写意人物画的式微。新中国成立后，由于提倡主题性创作，人物画重新得到重视，徐悲鸿、蒋兆和等人将西方的素描引入人物画的写生和创作，使人物画造型得到了改善，并在此基础上探索素描与笔墨语言的结合，写意人物画重新焕发出新的气象。

 (1943.9 -) Wang Shouxin, formerly known as the owner of Dutianzhai, was a tea customer in Xiting, Hefei, Anhui Province. He graduated from the Art Department of Anhui Normal University in 1967. Graduated from Graduate School of Traditional Chinese Painting, Zhejiang Academy of Fine Arts in 1981. He was Vice President of Anhui Academy of Calligraphy and Painting and Vice President of Anhui Artistic Association. Now he is the president of Anhui Painting Academy of China, the director of China Artists Association, the chairman of Anhui Artists Association, the first-class artist of the state, and enjoys the special allowance of the State Council. In 1985, he was invited to hold art exhibitions in Guam, the United States. In 1986, he held a personal art exhibition in Beijing Artists Gallery. In 1987, he was invited to hold "Anhui Modern Chinese Painting Exhibition" in Federal Germany. In 1988, he went to Singapore to lecture and hold a personal painting exhibition. In 1993, he was invited to visit Thailand and Korea, and held "Korea-China Calligraphy and Painting Exchange Exhibition". His works have been selected for many professional exhibitions at home and abroad and won prizes for collection. He was invited to hold exhibitions and lectures in the United States, Germany, Singapore, Thailand, Korea and Japan. His works include "The Last Bowl of Stir-fried Noodles" and "The Land of Recovery". Published "Wang Tao's Figure Painting", "Selected Works of Wang Tao", "Wang Tao's Painting Collection". Critics commented on his works with a wide range of themes, deep artistic conception, ink blending, bold and unconstrained, the momentum and strength of the composition of the picture expressed the coincidence of personal feelings and modern consciousness.

Wanjunchi (Appreciation of Calligraphy and Painting, Editor-in-Chief of Zanzhen Magazine): Wang Tao's heroic complex, poetry temperament, sense of distress and creative mentality. From his works, we can chew humour and acrimony. Taste elegant, smart, and feel the faith, conscience. He is good at using and changeable, but also aesthetic and realistic.

Fang Zengxian (Vice Chairman of Shanghai Artists Association): Wang Tao's success lies in "not the result of writing practice, but the result of thinking".

Ye Shaoyu (Vice Chairman of China Artists Association): Zhuangzhou Dream Butterfly, an Anhui painter, has an unusual conception and intention.

Li Zhenjian (Professor of Zhejiang Academy of Fine Arts): Painter Wang Tao has always been in love with the "image outside the image" of the verve realm. Its open-minded character, accompanied by bold and unconstrained style, is full of it, which makes its works exudes a magnificent and magnificent spirit. Full of vigorous spirit of the times and distinct and strong Eastern strength.

Liu Boshu (former president of the Chinese Academy of Painting and vice-chairman of the Chinese Association of Fine Arts): Yunlong is flying away, and Tianma is free. Mr. Wang Tao is a rare talent in the field of Chinese painting. His works are elegant, elegant and fresh. His painting style is absolutely vulgar, simple and elegant. He has a good blend of spirit, form, spirit and spirit.

Wu Yang (Beijing Writer): Wang Tao leads his team of painters in obscurity and is willing to be poor. In the impetuous shallow trend of the times, adhere to the root of local culture, adhere to the fresh and pure painting style, do not follow the trend, do not compare, do not discourage.

Liu Xinsheng (Member of the Watercolor Arts Committee of the Chinese Artistic Association): Wang Tao firmly stands on the land of Oriental Art to make his own choices. Some passion of Western artists arouses the true feelings that have been sleeping in his heart for a long time and melts into his Oriental pen and ink lines.

Jia Dejiang (President and Editor-in-Chief of Beijing Arts and Crafts Publishing House): Wang Tao is not only an open-minded artist, but also a far-sighted thinker. He will further cultivate his magnificent integrity in the artistic dialogue he loves. We should further turn pen and ink into personality and personality into pen and ink, and create the future of Chinese freehand brushwork figures in the spirit of modern people.

Xu Encun (Editor-in-Chief of China Art Magazine): In recent years, Wang Tao's thoughts have been deepening, his pen and ink have been maturing and his artistic realm has been improving. The figure paintings, no matter from ancient to modern times, are full of rich cultural flavor. Perhaps the painter loves his native land too much. He always creates a picture of the spiritual world with happy melody, bright color and full ink.

Cao Yulin (editor-in-chief and deputy editor of Zhenfeng magazine): As an important representative of freehand figure painting, Wang Tao's figure painting has made many achievements. It is a new progress and harvest in contemporary figure painting creation that it integrates foundry tradition, restores the freehand spirit and high-quality, bold spirit.

Ouyang Zhongshi (Professor of Capital Normal University): "Green sandalwood is colorful, see three lights in the jade edition." —— Geng Wushu presents Wang Tao.

Since Liang Kai in the Southern Song Dynasty, freehand figure painting has not been developed by leaps and bounds, unlike landscape painting and flower-and-bird painting, it has been developing from the old to the new, reaching the peak of art. This is due to the worship of the world at that time, landscape, flowers and birds are more suitable for literati to express their inner demands; second, because the social environment and market at that time did not have a great demand for freehand figure painting, resulting in the decline of freehand figure painting. After the founding of New China, because of the advocacy of thematic creation, figure painting has received renewed attention. Xu Beihong, Jiang Zhaohe and others have introduced Western sketch into the sketch and creation of figure painting, which has improved the shape of figure painting. On this basis, the combination of sketch and ink language has been explored, and freehand figure painting has given a new look.