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Simon Winegar

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Slushy 30x40 Oil

Secret with a C 36x48 Oil

Pennsylvania River 18x24 Oil

At Fish Lake, They Go Red 30x40 Oil

Battle of Light and Dark 48x36 Oil

Like Folds in a Quilt 30x40 Oil

Thunder Heads 12x24 Oil

Gourd-geous 12x12 Oil

Near Lima 36x48 Oil

Some are Fallen Heroes 48x48 Oil

Homestead 24x36 Oil

Big Rock Mountain 48x60 Oil

Seasoned 36x36 Oil

Golden Enchantment 48x36 Oil

Sapphire Sky 12x24 Oil

Last Light Paradise 24x48 Oil

I Miss Fall 48x48 Oil

Big Rock Mountain 36x48 Oil

A Cold Breakfast 60x48 Oil

Eternal Autumn 24x48 Oil

Solitude Frozen in Time 30x40 Oil

Meghan's Place 30x40 Oil

Tolman and Sons II 24x30 Oil

Replacement Parts 24x24 Oil

Bridge 12x12 Oil

Silent Soliloquy 24x48 Oil

Morning Greens 24x36 Oil

Before Harvest 36x48 Oil

Shade On My Grass 12x16 Oil

Slow Descent 18x24 Oil

Being Bold 48x24 Oil

Romance at Sundial 48x48 Oil

At the Foot of the Great Rock Canyon 30x40 Oil

Adam's Canyon 16x20 Oil

White Tips 48x45 Oil

Crisscross 24x30 Oil

Winter In Colors 14x34 Oil

Sunsplash 12x24 Oil

The Tarp 24x30 Oil

A Warm Summer's Eve 30x36 Oil

Country Comfort 14x18 Oil

King Line, Engine 777 40x60 Oil

Winter Freeze 18x24 Oil

Shadows Cast 10x18 Oil

Boat Backs 16x24 Oil

Cloud Formation 20x20 Oil

Buildup 14x11 Oil

Anvil 12x16 Oil

At Dock's House 24x48 Oil

Early Fall on the Wasatch 36x48 Oil

City of Trees 20x16 Oil

Oh Deer! 14x14 Oil

SIMON WINEGAR

“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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