A timeless aura pervades the  prairies of West Texas, and although the region is part of the vast Chihuahuan desert, there is a   richness to the land which is most apparent during the early summer when glorious arrays of wild flowers weave colorful threads into the velvety green tapestry which covers the gently rolling hillsides.

This tranquil panorama spreads as far as the eye can see, broken only by the distant Davis Mountains, clothed in the lavender hues which gave rise to a school of artists denoted as the "purple mountain painters".

The passing of centuries has not changed this vista, and one could almost visualize a wildly rocking stage coach thundering through the pass ahead if it were not for the bank of modern day "wind machines" whose strange, angular profiles dominate the ridge above.

This is the heart of Texas ranch country, and it is easy to understand why western artist Wayne Baize has set down roots here, for as one of the newest member of the prestigious CAA, being a "cowboy artist" is not merely a job title but rather an all encompassing way of life learned from generations of ancestors who lived close to the land.

                                                         
                                                                      "Desert Shade"

Born in 1943 in the small town of Stamford,Texas, Baize was the son of a stock farmer, whose main crops included cotton, wheat and livestock. During his youthful years the family made its home in similar rural settings such as Bayard and Abilene. It was from his hard working father, a man who was more comfortable with a horse drawn plow than its mechanized counterpart, that Baize gained not only a strong work ethic but an innate love for animals and the people who cared for them.

As is often true, Baize had an affinity for art at an early age. "My favorite toy was always a coloring book", he confides. "By the time I was 12, my parents realized how much art meant to me, and they made it possible for me to have private lessons."

After graduating from high school, Baize worked in the Abilene lumberyard and feed store, a schedule which necessitated refining his artistic talents at night. Dedication prevailed, and he soon began to earn pocket money doing personalized portraits. These often featured a local rancher astride his favorite horse busily working his cattle. Baize further individualized each piece by adding familiar landmarks or picturesque outbuildings exclusive to that ranch.

Words of praise for Baize's work soon spread along the local grapevine, prompting Brad Thompson, a board member of the Stephenville Savings and Loan, to offer Baize the opportunity to have his first solo exhibition. "Nearly all of my paintings sold, and from that time on I knew I could make a living as an artist", Baize recounts.

By the late 1960's Baize's work was in Tommy Lewis' Taos Art Gallery, alongside such notables as William Moyers and George Phippin. About this time he also met another CAA artist, Tom Ryan, who encouraged him to attend his first professional art show, the CAA exhibit then held at the Cowboy Hall of Fame in Oklahoma City, OK. It was also Ryan who invited Baize to exhibit his work in the yearly OS Ranch show, a benefit fundraiser for the West Texas Boys' Ranch which drew Western art collectors from all over the nation.

Indeed, whenever Baize needs artistic advice, he still turns to Ryan who has remained his friend and mentor for the past thirty years.

                                          
                                                                  "A Good Lickin"

Another turning point in Baize's life occurred in 1977 when he

moved to the Fort Davis area. While purchasing land from her family, Baize became acquainted with Ellen Largent, the multi-talented lady who five years later became his wife. And it was here in this serene setting that Baize began to produce his best work.

As he explains the reason for this change, Baize's slow, deliberate speech, often accentuated by a respectful "ma'am", evokes the sense of nostalgia that is so apparent in his work. "There are so many ranches in this area that I never run out of subject matter. In order to gather material, I work right along side the other hands doing what they do - branding, inoculating or helping them to move cattle from one camp to another. This is how I find inspiration for pieces like, "Following the Old Path" which portrays driving the ranch's rumuda of spare horses along an old rock reinforced road that is on the O6 Ranch. These are vast spreads so the horse remains an all important entity, for much of the work must still be done on horseback because the terrain is simply too rough for motorized vehicles."

"What I am portraying is the everyday routine of the working cowboy, as it is now and as it was a century ago. I prefer to depict men working the open range rather than in pens, and I don't like putting power lines, pickups or other modern day appurtenances into my paintings. I guess leaving those things out romanticizes my work a bit, but it also gives it a sense of the past."

The Baize lifestyle itself is a beautifully, refreshing anachronism. Living off the fruits of their own land, this close knit family is nearly self sufficient making the 17 mile trek into the nearby town of Fort Davis only to attend church, 4-H meetings and other social gatherings.

Although their comfortable ranch style house, which Baize himself designed, has all the latest conveniences, there is no indication of such modern day staples as televisions or computers. Instead, a spinning wheel augments the living room furniture. The piece is not only decorative but is also used to spin yarn in preparation for a future project.

Indeed, Ellen is currently weaving a saddle blanket on the full sized loom which occupies a corner of the "barn"; a structure which not only provides storage space for hay and grain, the often used family cider press and farm equipment, but also houses a full-sized chuck wagon, numerous saddles, and other vintage paraphernalia which Baize employs as props for his paintings.

The four Baize children Elizabeth 12, William 10, Jonathan 8 and Charles 5, are reserved and well-mannered, but exhibit the spontaneity of youngsters who are encouraged to explore life to its fullest. They receive their education in a home school arrangement with Ellen as teacher, and it is obvious they are eager students. Glass cases (built by dad) filled with such diverse collections as seashells and arrow heads are discretely tucked into various corners of the home, including the dining room and even Baize's studio. Neatly categorized and labeled, the contents are indications of intensely researched projects.

                                   
                                                    "Bringing the Remuda"

Baize's studio, which adjoins the house, is as informal and relaxed as its owner. A large, high window allows the natural north light to spill over several canvases in progress as well as the piles of reference books and magazines that are stacked around the room. The ledge of the massive stone fireplace holds replicas of several wagons, including a miniature of the one housed in the barn, which he used as a model for the "Long,Bumpy Trail", an original which hangs on the adjoining wall. As often as not, at least one of the children shares this space working on his or her own art projects.

At this home daily life and art are interchangeable for although Baize is a western painter by profession, the 1,300 acre spread on which the family lives is also true a working ranch where each member, down to the smallest, makes his own special contribution.

The Baizes raise registered Herefords. "My wife's family has been in the Hereford business for about five generations now, and I guess I would just about be kicked out of the family if I tried to raise any other breed", Baize jests.

As a general count, Baize runs about 30 head of cattle. "That's about the average of what this land will support", he relates. "There are portions of Texas where you can run more cows per acre so people often wonder why we choose to ranch in this area. During some dry years the rain has stopped right at our fence line, and then it is hard not to take it personally", he laughs, "but when it does rain out here the grass comes so fast and the cattle do so well. You just can't abuse the land by overgrazing it. In fact, environmentalists are always trying to tell the rancher what he should be doing, but in my mind the ranchers are the real environmentalists - after all, they earn their livelihood from this land, and it is they who best understand how to take care of it."

For Baize, this land is not only home, but it serves as the inspiration for his art. The rocks, the mountains and the ever present yucca plants have become trademarks of a Wayne Baize painting. His Herefords also make ideal subjects. "I was painting this type of cattle even before I married Ellen", Baize explains. "Their red coats lend so much color to a painting, and their eyes are more prominent and show so much expression when contrasted against that white face."

                                          
                                                           "Bedded Down"

Many of his paintings are about relationships, cowboy and horse, mare and foal, cow and calf. A recently completed piece called "A Good Licken'", shows the loving care with which a mother cow carefully grooms her week old calf. Thorough the artist's eyes the viewer senses that this mother is not merely cleaning her young charge, but is bonding with him as well.

For a number of years, Baize was best known for his multimedia work. "I began my career working in colored pencil", he explains. "Eventually, I added acrylic to the pieces to achieve a greater depth of color. However, you can only go so far with these mediums, so about five years ago, I began experimenting with oils because you can achieve much richer colors. At first, it felt very clumsy, but like swimming, I just jumped right in and now I am beginning to feel much more comfortable."

Indeed, persistence has been a lifelong attribute for Baize. "Even back in high school, I felt like there were lots of other kids who could draw better than I did, but I just kept at it until I became the professional artist", he jests.

This stick-to-tiviness has continued to hold Baize in good stead for he was not selected as a CAA until his third application. He relates his determination to belong to this organization. "I never got discouraged when I was turned down. Rejection only inspired me to try a little harder. Being a member of the CAA is the fulfillment of a dream", the artist confides, "but it's also a challenge which puts a lot of pressure on you to produce your best work. There are such good artists in this group that they will show you up real quick, and with the CAA after your name if you produce a bad piece it is an embarrassment not only to you as an artist but to the entire CAA group as well."

Perhaps Baize has chosen to paint the working cowboy, because his subject mirrors the qualities most apparent in the artist himself - persistence and dedication to a vision. Indeed, the ability to endure remains the only true measure of success in this timeless hinterland where Baize resides.

                                        
                                                       "Her Backyard"