Kraut, Susan (1979). Untitled [charcoal with stumping and erasing on ivory laid paper]. Jalane and Richard Davidson Collection. 2001.689.

A beautifully rendered single-point perspective, dense drawing of somewhat common subject matter. Cross-hatching is used with strokes consistently rotated in either direction 45° and at perpendicular angles to each other to establish most value. |

An apartment transitioning between tenants seems to be the subject. The low-key treatment of the subject suggests a longing within the room to have people return and live out their lives within. This work is rendered with charcoal, some subtraction and ivory paper.

Value, volume, shape and texture combine seamlessly in descending order to create this satisfying work. A strong measure of value is used, but certainly leans toward the darker end of the scale. For the most part, shape is used to create a mesh of planar areas guiding the eye into the canvas. Kraut’s texture-building choices keep the many detail and value-blended areas from becoming monotonous.

The illusion of depth is very successful. A form of reverse diminution is used to excellent effect: detail sharpens further into the canvas. Linear perspective is also used. I believe a form of approximate symmetry is used here. While neither picture plane halves are reversed copies of each other, the planes and gaps do mimic each other, and both balancing lines are near their dimension’s half-way points.

Unbalanced value is a strength of this work. The main light source creates a few points of clear detail through contrast, while the sensitive treatment of the same creates the blended mid-tones and shadows. Flat, planar shapes dominate, but there are a small number of rounded, more natural shapes used to add interest. The strongest contrast and most eye-catching area of this work is the optical center of the canvas. While remaining details are washed in shadow, they still capture some residual activity from the viewer.

One of the most impressive qualities of this work is Kraut’s “stepped use” of value. Value is placed on the lower half of the scale for the most part, and she employs specific positions on that scale to flesh out areas that decline away from the light source and toward the viewer.