Light and memory

It’s ironic that he’s exhibiting in the room Ansel Adams used for his darkroom. Adams worked his day job there while contemplating his own future, piano or photography. We’re blessed both men never gave up their art.

Though he doesn’t credit Adams as mentor, several of Washburn’s paintings actually cover the same subjects, and he adheres to a similar strict discipline about tonal values and meticulous detail.

Parts of his paintings look almost photographic. That’s just the beginning.

Moving from oil painting that Washburn began in art school to watercolor was quite a journey. For a hyper-realistic painter, the level of detail is most difficult in watercolor, the least forgiving painting medium. It takes a long time to create each piece without messing up.

Washburn has clearly mastered the techniques. And he brings his own style mixing realism with highly impressionistic passages in each work.

Juxtaposing landscape and sky, one painstakingly detailed, the other soaring fancifully in every painting, you will be drawn in by his strong compositional line structure.

Then there are his skies. It’s iconic to describe a vibrant dramatic sky in painting as a “Constable sky,” after the classic British landscape painter. Washburn nails it, whether using an impressionist interpretation of clouds or a granulation technique to suggest Van Gogh’s starry nightscapes.

Atmospheric physics indeed.

Searching for the right term for his style, I found “Cloisonnism” — almost flat areas surrounded by distinct boundaries appearing like the prints of Frances Gearheart or Thomas Killion. Washburn considers comparison to illustration a compliment. It’s a style that began with Gaugin and the Post-Impressionists.

Washburn truly enjoys painting places he loves. It’s his way of returning to the experience.

“Place is what I can latch onto,” he declares. “Others can too.” If you find that in his paintings, he’s delighted.

“Lake Isle of Innisfree” was inspired by the Irish poet Yeats’ poem. He composed it from imagination and detailed research — even into the type of boats and oars used — so realistic as to be recognizable by someone who lives there.

“Wyeth Compound Maine” is my favorite piece, with a Cloisonnism sky reflected in the water surrounding a band of realistic landscape.

“Brooklyn Skyline” is an Edward Hopper type piece that any New Yorker would instantly recognize, and he’s painted four different variations.

“Mendocino Evening Light” has a subtle Van Gogh feel. Ask him about the technique.

“Zion Canyon Viewed from the Observation Deck” is iconic. Ansel Adams is likely smiling down.

Washburn wants his viewers to be touched by their own memories, either of the actual locations or just the emotional experience of such places.

“How gratifying when collectors are able to share those connections with me,” he shares smiling. 

An artist reception will be Jan. 10 from 1-4 p.m. at the Portola Art Gallery in the Allied Art Guild. His show, “Light and Memory” will be displayed there through January.

Take time to view all the art at the gallery. It’s a small space with a lot to offer. A dozen or more highly skilled painters, woodworkers and glassworkers fill the room with light and delight.

You Can Create Too: Nearby the Atherton Arts Foundation holds an “open studio” Wednesday afternoons from noon to 3:30 p.m., free to the public to try your hand or just finish an art project. Main House at Holbrook Palmer Park, 150 Watkins Ave., Atherton, RSVP to: dlhunterart@gmail.com.

Allied Arts Guild, 75 Arbor Road, Menlo Park, (650) 322-2405, alliedartsguild.org.

Bart Charlow, author and consultant, has been sketching all his life and painting for over 45 years, had a professional photography business, and leads plein air painting groups. Come along as he shares his insights about the local art scene, and bring your sketchbook. His art and story is at: bartsart.weebly.com.