Gold in the Hills, 24×30

"Gold in the Hills"
First I would like to preface this post with a personal bias, this is one of my newest "favorite" paintings.  There are always a few paintings that I am particularly happy with, it changes all the time, this just happens to be one of them at the moment.  Being a full time professional artist these favorites come on rare occasion, for they must stand-out among the rest, for reasons not always clear to myself.
This painting has a great sense of harmony, probably one of the reasons I like it.  
Anyway, let's talk about color harmony.  Finding harmonies in artistic ventures is not all that difficult… honestly.  The simplest harmonies are monotones.  I would daresay that it's impossible for a monotone NOT to be harmonious, almost by definition.  Moving from one side (monotone) to the other (a full-color spectrum,) however, is a completely different story.  Most artists become comfortable with a narrow range of colors, the stick with them, and learn them well.  Not a bad idea, and helps paintings maintain a certain cohesive quality.  From what I've noticed the more mature the artist becomes (not just older, but more experienced) the more they tend to experiment with pushing the harmony envelope.  Perhaps due to boredom, or perhaps because he/she has mastered the other colors and feels that they need additional growth.  Regardless, the fact is that the closer one comes to a full-spectrum the more difficult harmonies become.  Nature somehow finds a way to push colors to their very limits in nature, while still maintaining a harmony.  Nature is the great harmonizer, but I find that perhaps nature plays tricks on us, as artists (or perhaps it tricks us into thinking we've been tricked. ;))  
Harmonies are achieved by identifying the colors in a given scene and restraining the compliments.  Sounds simple enough. But if you think about it, trying to achieve a "full spectrum" harmony AND restraining some of the compliments is impossible, since full spectrum means using all colors.  I venture to say that it is impossible to use all colors, especially given that we are lacking with our imperfect pigments.  Is attaining the impossible really the goal?  I say no, it's getting as close to it as possible, the trick is, still making it believable!
Kind-of a rambling post, sorry.

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About Winegarfineart

“Creating moods that are often romantic and thought provoking, Simon Winegar’s tonalist landscapes are meant to provide collectors with a view of the world that runs counter to some of the more negative versions of it that are found in today’s culture. Sometimes it seems like we live in an ugly, unforgiving world,” says Winegar. “So the point of what I do is to attempt to beautify the world. I want to create a mood that moves the viewer.” American Art Collector, March 2008

Simon Winegar was born in Utah in 1979 and grew up in the suburbs of Salt Lake City. Believing to be an artist since birth, some of his first memories are of Crayola crayons and Watercolor paints. “Not a Christmas went by that we kids didn’t get a new set of watercolor paints and pad of construction paper. My mother, though not a professional artist herself, is really the one who planted the seeds of art in our minds at a very young age. I also owe some of my early beginnings to my older brother Seth. We spent much of our free time drawing and painting, since he was older, he was always a little more advanced than I was. I learned a lot from him, as he learned from others. His road to becoming an artist helped me understand art processes, as much through his mistakes as through his successes.” Simon also feels that he owes much of his education to personal study and workshop classes. “I read a lot. I think finding great art books, and applying what they teach, can be one of the greatest tools at an artist’s disposal. It enables an artist to ponder and review over and over again the fundamentals and philosophies of art. What better way to excel than by standing on the shoulders of the giants that have gone before us?”

Since entering the market in 2000, Winegar’s work became at once respected and honored. He has been featured in many magazines, books and art venues that have shown his work in a light of professionalism and quality. His work shows in some of the most respected galleries in the United States and has been seen in almost a dozen one-man-shows to date. Winegar’s art has also adorned the walls of the Springville Art Museum, The Museum of Church History and Art and the International Museum of Contemporary Masters of Fine Art.

While known mostly as a landscape painter, Winegar doesn’t limit himself to this subject alone. He can be seen painting figure, still life, seascape, and historic works of art--anything that inspires him. “There is so much to learn and explore in the world, I don’t see why anyone would limit themselves artistically without a good reason. I think it is important to try new things and always be growing as an artist. Without this continual stimulation and growth, the artistic mind becomes stagnant.”