Vibrant Orange Gourds, 8×14

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I guess they're goards.  I know they're technically squash, but are they gourds also?…I don't know.

Anyway.

Fall has got to be my favorite season, I love the drama and the temperature.  I also like the suggestion of change that it seems to embody.  I think those are the reasons, among others, why I've been on a pumpkin-kick as of late.

I did this piece as a gallery demo in Park City last Saturday (Mountain Trails Gallery.)  I had a lot of positive comments, and was able to talk to quite a few people.  It was a lot of fun and always enjoy interacting with the public (for the most part ;))

Review:

One of the visual devices that I find interesting in this painting is the subdued and muted colors juxtaposed by the vibrant little nuggets of orange, it really makes those little gourds pop!  The composition is interesting, sort of a combination of an inverted "L" and a "Steelyard" or balancing format.  The natural horizon lies right along a natural focal line (not the perceived horizon, which is the interface between the rolling hills and the sky, but the natural division from the horizontal plane to the vertical or inclined plane…my own definitions btw.) The large bush and the road counterbalance each other and are also both lying opposite each other on vertical axes of the "golden rectangle."

I'm always concerned when I use a road in such a dynamic and forceful fashion (being worried that it will force the viewer too much, thus causing unease) this is one of the reasons I decided to push the right side of the road out to the edge of the canvas.  This causes either side of the road to have different lines, subduing the forceful manner at which it causes the viewer to be directed.  I believe it also creates more interest for the viewer.

Most of this painting is done with a knife.  I really enjoy the textures I can create with a knife, since I have a tendency toward texture, it is a tool that I use frequently.  The piece was done on a piece of MDF board, prepared with gesso (which was textured) and finished with an umber wash.  It was allowed to dry before the painting was started.

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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.”

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