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Robert HenriPortrait of a resting young lady (Marjorie Organ)c. 1907
c. 1907
About the Item
Portrait of a resting young lady (Marjorie Organ)
Black chalk on paper. c. 1907
signed in ink by Henri's nephew, John C. LeClair, the executor of the Henri estate
"Robert Henri JLC"
Note: The sitter for this portrait is depicted in two drawings of similar size, illustrated in Chapellier Galleries Inc., Robert Henri 1865-1929, 1976, nos. 15 & 16.
Please see the attached photo of Marjorie Organ, Henri's second wife
Condition: Excellent
Image/Sheet size: 10 3/8 x 7 1/2 inches
Provenance: Estate of the Artist
John C. LeClair, Estate Adminitrator
Private Collection, Pawling, New York
Biography
Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio, on June 24, 1865, the son of a professional gambler and real estate developer. The family lived in Nebraska and Colorado, but fled east when the father shot and killed a rancher over a land dispute and was indicted for manslaughter. They changed their last name because of the ensuing scandal and eventually settled in Atlantic City, New Jersey, during the early 1880s.
In 1886 Henri enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia, where he studied under Thomas Anshutz, Thomas Hovenden, and James B. Kelly. In 1888 he went to Paris and enrolled at the Académie Julian under William-Adolphe Bouguereau and Tony Robert-Fleury. During the summers he painted in Brittany and Barbizon, and he also visited Italy prior to being admitted to the École des Beaux-Arts in 1891. He returned to Philadelphia late that year, and in 1892 resumed studying at the academy. Henri initiated his long and influential career as an art teacher at the School of Design for Women, where he taught until 1895. During this period he met a group of young Philadelphia newspaper illustrators who, with Henri’s encouragement, would pursue painting careers in New York: John Sloan (American, 1871 - 1951), William Glackens (American, 1870 - 1938), George Luks (American, 1866 - 1933), and Everett Shinn (American, 1873 - 1953). He also made regular trips to Paris, where he was particularly influenced by the works of Edouard Manet (French, 1832 - 1883), Frans Hals (Dutch, c. 1582/1583 - 1666), and Diego Velázquez (Spanish, 1599 - 1660). In 1898 one of his paintings was purchased for the Musée Nationale du Luxembourg.
In 1900 Henri settled in New York. He taught at the New York School of Art (formerly the Chase School) from 1902 to 1908. He rejected both the genteel tradition of academic painting and impressionism, and instead created unconventional urban realist subjects executed in a bold, painterly style. Around 1902 he began to specialize in portraiture. In 1906 Henri was elected to the National Academy of Design, and that summer he taught in Spain. When the academy jury rejected works by Henri’s friends and colleagues—Sloan, Glackens, Luks, and Shinn—for its 1907 annual show, he resolved to organize an independent exhibition. The result was the famous show of The Eight that was held at Macbeth Gallery in February 1908. In 1910 Henri organized the first Exhibition of Independent Artists, an egalitarian group modeled after the Salon des Independents in Paris and operating under the principle, “no jury, no prizes.” Henri’s influence began to wane with the gradual ascent of more radical modernist styles after the 1913 Armory Show. Nevertheless, he continued to win numerous awards and taught at the Art Students League from 1915 until a year before his death from cancer on July 12, 1929.
Although Henri was an important portraitist and figure painter who was admired for his straightforward, vital likenesses of unusual sitters, he is best remembered today as the influential, progressive, and charismatic founder of the so-called Ashcan school of urban realism. A champion of “art for life’s sake,” he was noted for his democratic approach to portraiture, and chose sitters from diverse racial groups and walks of life. In 1909 he was strongly influenced by the color theories of Hardesty Maratta, and his palette brightened considerably. Henri was a tremendously influential teacher, and his ideas on art were collected by former pupil Margery Ryerson and published as The Art Spirit (Philadelphia, 1923).
Robert Torchia
Courtesy National Gallery of Art, Washington
- Creator:Robert Henri (1865-1929, American)
- Creation Year:c. 1907
- Dimensions:Height: 10.38 in (26.37 cm)Width: 7.5 in (19.05 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA96111stDibs: LU14014663462
Robert Henri
Born Robert Henry Cozad, Robert shared a lineage with Mary Cassatt, making them cousins. Henri kept secret that relationship much as he did his birth name, in an effort to erase the reputation of a murder conviction against his father John Cozad. Robert's childhood reads like a Bret Harte short story. From card shark to real estate speculator, Henri's father moved the family from Cincinnati to Nebraska in a series of speculative land development projects. A disgruntled employee attacked Robert's father, and in self-defense his gun fired, killing the attacker. The murder conviction, later pardoned, led to the family's fleeing to Colorado, and assuming new identities. Robert Henri was sent to boarding school in New York, where he showed talent in writing and theater, creative endeavors encouraged by his mother. He discounted his creativity, thinking "artists surprised their parents... by doing masterpieces in their infancy... and [he] was not of that class" (Perlman). Nevertheless, painting buildings his father acquired in Atlantic City and producing political cartoons and color sketches for a small "museum" in his father's store caught the attention of admirers who encouraged Robert's art. James Albert Cathcart persuaded Henri to study at his alma mater, the Pennsylvania Academy of Fine Arts, where Henri enrolled in 1886. Robert Henri’s strong connection to the Pennsylvania Academy of the Fine Arts began when he enrolled as a student in 1886. He entered the Academy eight months after Thomas Eakins had resigned. Despite Eakins’s absence, his strong influence on the curriculum at PAFA remained and it affected Henri profoundly. Eakins had instituted new educational policies at the Academy that were some of the most progressive in the country. Thomas Anshutz played an important role in Henri’s development as an artist. He upheld many of Eakins’s ideas and continued to build upon his teaching method; however, Anshutz was also open to change and cultivated individual artistic expression. A devoted teacher, he did not impose artistic formulas. Henri valued Anshutz’s criticism greatly, and determined to succeed as an artist, he worked tirelessly as his student. After studying for three years in Paris from 1888 to 1891, Henri returned to Philadelphia and the halls of the Academy. Steeped in Anshutz’s call for realism and plain painting without bravura, Henri challenged himself and the other artists he influenced to “paint what you feel . . . paint what is real to you.” And so began his lifelong pursuit of painting “life in the raw,” without what he deemed “academic artifice.” He promoted this credo to his many students and perhaps popularized it most in his sensational 1908 exhibition at Macbeth Gallery, where he and a group of artists, eventually called The Eight, mounted a show that was a direct affront to the National Academy of Design’s rejection of their work and the modernist spirit that shaped them as artists. Henri met four of the artists who made up The Eight, William Glackens, John Sloan, Everett Shinn, and George Luks, in Philadelphia, where they all took classes at PAFA.
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