Making things more special with french words.

(Today, from my blog: www.winegarfineart.blogspot.com) On Location  This little color study was done a couple weeks ago. It was done on location in Diamond Fork Canyon with John Hughes and Seth Winegar (my brother.) A large quantity of the land in the area is owned by Robert Redford (of Hollywood stardom.) It is a beautiful area, and worth the road-trip for sure, especially with the recent fall colors. This unrefined painting was done to capture the colors and values, which is hard to do from a photograph. From this study, and the photos I took of the area, I will eventually complete a studio piece. But this is not the point of this post: Overuse of french phrases in painting. The last decade or so has seen the increase of many French words in art (and Italian for that matter.) For some reason taking a mundane phrase like "Painting on Location" or "Direct Painting" and changing it to "En Plein Air" or "Alla Prima" makes it more romantic and educated, and by extension more "legitimate." Recently I have also noticed a rebellion against such arbitrary linguistic assignations. Artists who refuse to use such phrases. Most recently I read something by Trend Gudmundson alluding to the overuse of such phrases. To these artists I applaud. You may add one more to your ranks!

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“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.”

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