How to "Train" your painting.


How to ""Train" your painting.



"The BNSF 6000" 8×16



Much like a popular movie that my kids watch (I haven't actually seen it yet) when we endeavor create new things, or change them to suit our will; frequently WE end up undergoing the greater change. This is true with my most recent venture into the world of trains.

I've been doing a series of train paintings recently. I find that they are a most interesting subject that often gets overlooked for the artistic qualities they possess; the dark and light differences, the shadows, reflections, structure, dynamic lines, hard and soft edges. All these work together to make an object, in a setting, that begs more attention. The beauty of the subject revolves around the possibility to express it in extremely abstract terms, or in a very literal voice. Much like figure painting it makes things interesting, and the possibilities of artistic manipulation and expression endless.


I find structure interesting, especially structures that deal with natural settings, trains make the perfect candidate. I have a feeling that structures will make a larger presence in my landscape paintings in the future.


Here's a recent study that just got sent to Mountain Trails Gallery in Jackson, Wy. I've got a larger one at the Springville Museum of Art's annual show "The Spring Salon" that I'd like to show, but I don't have pics yet…I will have to post that soon.


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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.”