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Robert Henri"Sandy"c. 1926
c. 1926
About the Item
Jim's of Lambertville Fine Art Gallery is proud to present this piece by Robert Henri (1865 - 1929).
Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio in 1865. At the age of eight, Robert and his family moved to Dawson County, Nebraska. In 1873, Robert’s father, John J. Cozad, founded the town of Cozad, Nebraska. A land dispute that ended in Robert’s father shooting and killing a man caused the father to flee Nebraska in 1882. The family soon followed and, in 1883, they reconnected in Atlantic City, New Jersey. Although the father was eventually cleared of all charges, the family changed their names to avoid detection. John J. Cozad changed his name to Richard H. Lee and passed his two sons off as adopted children named Frank Southern and Robert Henri (pronounced hen-rye to rhyme with buckeye to remind Robert of his Ohio birthplace).
A friend visiting the family in Atlantic City admired what he saw of Henri’s home murals and acted as a catalyst in having the young man enroll at the prestigious Pennsylvania Academy of the Fine Arts (PAFA) in 1886. After two years of thorough training in drawing and painting at PAFA, Henri moved onto more training in Paris from 1888 to 1891. He first enrolled at the popular Académie Julian and then at the École des Beaux-Arts. In 1891, Henri returned to Philadelphia and studied again at PAFA.
In 1892, Henri started teaching at the Philadelphia School of Design for Women (now Moore College of Art & Design), where he gained a reputation as a vivacious and passionate teacher.
In 1899, Henri moved to New York to paint and soon to teach. Henri eventually became known as one of the most influential teachers and artists in the history of American art. Henri encouraged his students to have confidence in their own instincts and to focus with sympathy on their subjects. He asserted that they should ignore prevailing styles, such as Impressionism and Academism, and preached tonal rather than colorist styles with a technique of painting quickly, in a slashing manner, to capture the strength of the moment. A group of artists banded with him to help form "The Eight", also known as the Ashcan School, because of their depictions of the less than pleasant side of life in New York City. This philosophy, translated to artwork, became known as Social Realism.
- Creator:Robert Henri (1865-1929, American)
- Creation Year:c. 1926
- Dimensions:Height: 24 in (60.96 cm)Width: 20 in (50.8 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Lambertville, NJ
- Reference Number:Seller: JOL1119220021stDibs: LU37412197692
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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