Unexpectedly vibrant hues splash across Charles Basham s

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1 Unexpectedly vibrant hues splash across Charles Basham s Intended Garden (24½x42½) 20

2 Midwestern landscapes, but there s always some truth behind his bold choices. in living color B y Amanda Metcalf Pastel Journal June

3 Charles Basham takes his color choices to the saturated extreme in his pastoral paintings, yet he maintains he s capturing what he actually sees the cool, bright blue shadows and vibrant pinks, even in the background if you look hard enough. Because he loves bold color, Basham makes a point of starting with vivid reference material: He usually heads out into nature with his sketchbook and pastels in the early morning or late afternoon, when the sun s proximity to the horizon produces the most dramatic light. Most of his paintings start as plein air sketches, which he later works over in his studio. He doesn t work from photos. He finds them too static, and feels that they don t adequately capture the color he sees on site. Lights On Although his subject matter is drawn from the Ohio farm where he grew up and still lives today, Basham says it s the light that he s painting, not the topography. The goal, according to the artist, is to get away from the actual color to get to the light. And thanks to the endlessly varying effects of time, weather and atmosphere on light, he never runs out of inspiration. There isn t enough time in the day, he says, to paint all he sees. In fact, last year, Basham sketched a stand of sycamores that grows just south of his farmhouse dozens of times, each one drastically different (see Grove 7 a.m. July and Molten Sky, on pages 00 and 00). I find a way to reinvent things that I ve drawn before, he says. I inherently know when to pull back and when to add a splash of color. (See Atmospheric Perspective With a Bright Palette, opposite.) In the wake of his mother s death, Basham painted the garden she had once tended faithfully and which had since become overgrown. He discovered the morning scene highlighted in Garden Lost (a.m.) (above) cut with a diagonal band of light that grew from tentative to bright during the 45 minutes he sketched. Despite the fact that the evening scene Garden Lost (p.m.) (opposite) features more hues, it feels less tense, 22

4 Garden Lost (p.m.) (11x13½) Garden Lost (a.m.) (opposite; 11x13½) Atmospheric Perspective with a Bright Palette To achieve atmospheric perspective, Basham follows the rule of keeping warmer colors in the foreground and cooler colors in the background. He might use a warm pink for a background mountain in a painting, for example, but it will still be cooler than some yellow leaves he places in the foreground. The artist also realizes the effect by emphasizing the loss of detail as the scene recedes to the background. Distinct lines yield quickly to blocks of color and loose strokes, particularly in Osage Orange Mid-May (10x30), in which the vertical tree in the immediate foreground contrasts dramatically with the sprawling lake behind it and the horizontal mass of trees on the opposite riverbank. View more of Basham s vibrant landscapes at com/medium/pastel/basham-pastel-landscapes. Pastel Journal June

5 Clockwise from top: Day of Haying (30x44); Herring Cove Evening, Provincetown (22½x30); West Line of the Studio (22x30) 3 Tips for Painting Skies Basham s focus on light as his primary subject means he approaches his landscapes as an abstract painter might. I try to deal with space alone and not the subject matter, he says. The sky is often one of the largest spaces in the composition. The artist offers these tips: 1. Approach the sky as you would the field. Think of the clouds as having volume. 2. Atmospheric perspective applies to the sky just as it does to the land. The top of the painting is the foreground of the sky, and any clouds there should be more three-dimensional. 3. Recognize the difference in temperature of morning light (warm) and evening light (cool), but be open. Feel free to invent and reimagine. 24

6 with nearer values giving the impression of indirect light. The farm, which is depicted in 75 percent of his paintings, keeps changing, too. He has seen it evolve from his childhood in the 1960s and 70s, and throughout his college years at nearby Kent State University, where he now teaches. In the early 90s, the artist built his own house and a studio about a mile down the road from the main house. He does find inspiration in other landscapes, too, such as Congaree National Park, in Hopkins, South Carolina, for example (see above). Capturing Fleeting Moments Basham typically begins a painting by exploring this 96-acre rural playground until a scene catches his eye, at which point he embarks on a frantic attempt to capture the light and color before the sun moves and the light changes a process he describes as a kinetic gestural drawing. One of his frequent views, the aforementioned sycamore trees, undergoes plenty of costume changes, depending on the lighting. It s a quick adventure, often just 20 minutes, during which he densely covers most of his paper. The result is messy, he says, but ultimately represents his experience. Sometimes these sketches aren t for reference; other times, they inform the basis for a finished painting. For instance, he created several sketches for Intended Garden (on page 00), another view of his mother s garden, and selected just one to complete. The rest are tucked away, awaiting future inspiration. The details he adds later in the studio bring the painting into fruition the way a writer s notes transform research into an essay. Some of his better studio pieces derive from the most immediate, intuitive, incomplete studies, he says. This visual note-taking gives me something more personal and tangible than any photograph possibly could offer. It represents a moment and how I ve been able to respond to it. In his studio, just as in the field, Basham works at a frenetic pace. While working on one painting, he may notice another on its easel. He ll make a single mark on it, then turn around and touch up another. He usually works on two or three paintings at a time, some in pastel and some in oil. He owns about 1,200 pastel sticks but particularly enjoys Diane Townsend, which are bigger, perfectly ground and thus consistent, he says. The artist works in Somerset, Coventry or Arches spiral-bound sketchbooks of 250- to 300-lb. acid-free paper, preferring a little tooth because, as he paints densely, it lets a bit of the paper show through. His sketchbooks Congaree Swamp (30x44) Pastel Journal June

7 Clockwise: Autumn Indigo (12x18) Grove 7 a.m. July (9x11) Molten Sky (22x28) 26

8 and thus his paintings typically are small, 10x14 or 11x17 inches. If they were any larger, they wouldn t be portable for plein air painting. [BUT WHAT TYPE OF PAPER DO YOU USE FOR PAINTINGS SUCH AS DAY OF HAYING AND CONGAREE SWAMP?] Plus, working large makes it more difficult to capture scenes in which the light is changing rapidly. Autumn Indigo (opposite) was an image the artist had to get down quickly. He began sketching at 7 a.m. near downtown Kent, Ohio, while he waited for his Kent State students to join him. He wanted to capture the slashing shadow cast by a bridge up the riverbank. Diagonals throw you off balance, he says, and this shadow suddenly cast a red sandbar into cool shadow. The relatively cool red brush within that shadow is a reflection of how fast the shadow was moving and the light changing as the sun rose. Basham enjoys pastels because he feels that they present less chance of muddying the colors, which frees him to choose values that create the most contrast. It s not about seeing things, he says, but about seeing color relationships. The immediacy of the pastel application also fuels his ability to capture moments in time. His first experience handling the sticks was in graduate school, when he found them so primal, so bright, so vivid that they unearthed in him a willingness to push his colors. As he often tells his own college students now, Be subjective about what you see. Don t look at things and see the obvious. In Basham s case, his pastel interpretations take the colorful fields and pastures to a whole new level of visual excitement. Amanda Metcalf is a Brooklyn-based art and business writer. Charles Basham ( com/artists/gallery-artists/gallery-artists- Charles-Basham) has been an artist for 30 years. He earned a B.F.A. and M.F.A. from Ohio s Kent State University, where he is now an adjunct professor of art. He has been represented since 1984 by Jerald Melberg Gallery, in Charlotte, N.C., where an exhibition of his oils and pastels is on display May 2 through June 20. Pastel Journal June

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