Bauer, Robert (2004). Centinela III [graphite on gessoed paper]. © Robert Bauer.

I see a very strong composition based on value. It is similar in style and outright visual satisfaction to Jacquette’s 1976 Lower Manhattan – Brooklyn Bridge View Two painting. It looks quite detailed, but in actuality the mind fills in a lot of missing information. How Bauer manages this is certainly something I want to be taught. There is a lot of subtractive rendering as well. |

The scene is set in a loosely organized farm. The high-key global character of this work suggests sunlight washing over everything near noon. Pencil and gessoed paper is used. There seems to be a pointillist style to create this scene. Martha Alf's Pears, changes in value create soft edges in this work; line is not used. Line-like shapes are created through subtractive drawing to create the rigid and straight elements. Value should be mentioned above everything else; it and point are the central elements used to create this work, to great effect. This handful of elements channeled through Bauer’s unique artistic style create a consistent, necessary texture.

Space is not absolute and only developed to the point where it remains secondary to the sensitive nature of the edges and texture of this work. All detail is blended, but diminishing detail, semi-convergent axis, diminution and texture grain treatment create this works depth. Pictorially, this work is actually slightly unbalanced because the location of the densest values is somewhat clustered and not quite countered by the detailed shadows of the shrubs on the opposite end of the work. This strategy reminds me of Goya’s The Bullfight where the background creates a sort of value gradient in the background of light to dense from left to right.

The subtle, sensitive character of this work suggests elemental balance is favored over lopsided ratios. All edges are soft. The horizon line is placed very high on the canvas. There is near-equal use of natural and straight edges. The full value range is not quite used on the terminals, and lighter is favored over dense. There is most detail and value tension to the lower-left of the canvas, where the foliage is developed more than any other portion. The line of trees in the background carry nearly as much visual weight, and this axis line diminishing into the background is indispensable in creating depth. The picture frame is used as a supportive subordinate component in this work, similar to its depth. The observer seems to have an elevated perspective, as if he or she were floating above the ground and looking down slightly.

Bauer chose to create a work that throws the value scale off in favor of light values. However, the overall development of the work, specifically the areas where value contrasts are sharp, results in a very pleasing, masterful work.