Purchases outside the continental US - please call for shipping rates
New York state residents are charged sales tax
The work(s) of art is/are sold by the Seller and purchased by the buyer upon the following terms and conditions:
1. Except as otherwise provided herein or elsewhere agreed in writing, payment in full is due and payable on the date of the invoice.
2. This is an invoice only. Title to the work(s) of art purchased shall not pass until payment in full has been received.
3. All applicable sales taxes have been charged on this transaction. The payment and remittance of use tax is the Buyer’s obligation. Seller reserves the right to collect out-of-state sales taxes from the buyer after the sale if seller becomes assessed with them.
4. The Buyer’s sole remedy for breach of any implied or express warranty therein shall be an action for rescission and, in any event, the absolute limit of the Seller’s liability and responsibility hereunder shall under no circumstances exceed the total sales price and seller shall not be responsible for any special, incidental, or consequential damages or lost profits.
5. A non-exclusive right to reproduce the work(s) of art is reserved by the Seller.
6. Risk or loss of the work(s) of art purchased shall pass to the Buyer upon delivery by the Seller to the address specified by the Buyer.
7. In accordance with the UCC and the New York Arts and Cultural Affairs Law, Seller guarantees that the work(s) of art purchased is by the named artist. If such work(s) proves not to be of such authorship as described, Seller will accept the return of the work(s) and return the sales price in full.
8. Any disputes arising out of this sale shall be governed by the laws of the State of New York without regard to its choice of law provisions, and shall be submitted to the American Arbitration Association for an arbitration to be held before a single arbitrator in New York City, New York. The prevailing party in such arbitration shall be entitled to its costs and attorneys’ fees in connection with such arbitration proceeding, and the costs of enforcement and collection of any resulting arbitral award.
EXCEPT FOR THE WARRANTY OF AUTHENTICITY SET FORTH ABOVE, NO WARRANTIES OR AGREEMENTS, EXPRESS OR IMPLIED, INCLUDING WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, HAVE BEEN MADE BY THE SELLER.
Shorsey and the Bovines
Oil on canvas
30 x 30 inches
Rehs Contemporary Galleries, Inc., New York City
"Shorsey and the Bovines" by Ben Bauer captures a serene winter scene on a picturesque farm. The landscape is transformed into a tranquil winter wonderland, with a blanket of snow covering the ground. In the foreground, a solitary brown cow stands beside a barrel of hay, its warm, earthy tones contrasting beautifully against the pristine backdrop. The cow's breath mingles with the crisp air as it enjoys a nourishing meal.
Overhead, a network of electrical lines stretches across the sky, adding a touch of modernity to the rustic setting. Despite the man-made structures, the scene remains peaceful and harmonious, with nature's quiet beauty prevailing. The bright blue sky above complements the scene, creating a striking contrast with the snowy landscape and adding a sense of clarity and calmness to the overall composition. "Shorsey and the Bovines" invites viewers to appreciate the simple and tranquil moments of rural life amidst the enchanting embrace of winter.
Ben Bauer’s deep roots in the landscape of forests and high plains in the upper midwest are the source of his commitment to “recording a natural history” in his paintings. Like many people who have witnessed the continuing depletion of open land in once-pristine regions, Bauer is acutely aware of how quickly ecosystems can be damaged or destroyed; and how easily that loss can be justified under the auspices of economic development.
Born in St. Paul, Minnesota in 1980, Bauer grew up in a family that introduced him to the pleasures of outdoor living, whether enjoying a summer weekend in the countryside or participating in annual duck-hunting expeditions. The sense of camaraderie among the men in his family as they tramped through river valleys and wetlands provided the younger boys, including Bauer, with both an education in the natural world and a personal awareness of the cycles of each season. Seen from this intimate perspective, the shift from spring to summer reveals a gradual unfolding, just as the tonal shifts from white to grey and brown in a winter landscape can only be understood when studied over time.
This sincere connection to the natural world ultimately led the young Bauer to turn his fondness for cartooning on his school notebooks to focus on drawing wildlife scenes instead. As he noted in a recent interview, “I’ve always had a pencil in my hand since fourth grade.” By eighth grade, he discovered wildlife painters and printmakers, such as David Maass, who specialized in waterfowl imagery; and soon thereafter, Bauer created his first entry for the Minnesota Junior Duck Stamp competition. The federally sponsored Migratory Bird Hunting and Conservation Stamp Contest (the “Duck Stamp”) was initiated by President Franklin Roosevelt in 1934 as a source of funding for the conservation of wetlands and upland habitats throughout the US. Since that time, the US Fish and Wildlife Service’s National Wildlife Refuge System has been able to conserve over five million acres of land. In Minnesota, this program is complemented by the Department of Natural Resources which sponsors the Junior Duck Stamp competition as well. Although Bauer did not win the competition, he did place first among his age group--no small accomplishment in a field of 1100 student entries.
This early predilection for drawing provided the impetus for Bauer to take “every art course that was offered” in his North St. Paul high school, and ultimately led him to an art major at the University of Wisconsin-Stout in Menomonie, where he majored in painting. Although he was not overly impressed by what was then considered fashionable painting at the University, Bauer was introduced to a variety of technical and intellectual fields that would benefit him as an artist in the future. In addition, two of his professors, Tamara Brantmeier and Charles Lume, were especially instrumental in guiding Bauer to develop his own style.
Not surprisingly, Bauer has continued his art education on the internet. Like many artists, he has discovered art history online and has absorbed the work of artists as divergent as George Inness (1825-94) and the California landscapist, Edgar Payne (1882-1947). Bauer also notes that online sites for connecting with other contemporary artists have been an important source for sharing information and establishing a network of like-minded professionals.
Bauer’s work continues to evolve as he explores the imagery of the landscapes around him. A primary objective remains the preservation of these landscapes, whether it is a prairie restoration or the creation of land stewardship trusts to protect existing farmland from development. Because of this profound awareness of the land, Bauer’s paintings capture a strong sense of place, whether it is early spring along Elmo Creek or the vast horizon of a winter wheat field. Most recently, his oil paintings have also become studies in what he describes as “ever-changing and temperamental oil paint.” These works are further explorations in the nature of his medium, as well as reflections of the transitory qualities of seasonal cycles.