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he had cause to be worried. A man, not yet fifty, who saw himself in a vanguard was about to be relegated to the position of a conservative whose day had passed. Arthur B. Davies, an organizer of the show and a member of The Eight, was particularly disdainful of Henri's concern that the new
European art would overshadow the work of American artists. On the other hand, some Henri scholars have insisted that the reputation Henri earned in later histories as an opponent of the Armory Show and of Modernism in general is unfair and vastly overstates his objections. They point out that he had a keen interest in new art and recommended that his students avail themselves of opportunities to study it. " early as 1910, Henri advised students to attend an exhibition of works by Henri Matisse and two years later he urged them to see the work of Max Weber, one of the most avant-garde of American moderns."
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620:, a small village on Achill Island, in 1913. Every spring and summer for the following years he would paint the children of Dooagh. Henri's portraits of children, seen today as the most sentimental aspect of his body of work, were popular at the time and sold well. In 1924, he purchased Corrymore House. During the summers of 1916, 1917 and 1922, Henri went to Santa Fe, New Mexico to paint. He found that locale as inspirational as the countryside of Ireland had been. He became an important figure in the Santa Fe art scene and persuaded the director of the
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675:. (Henri's interest in these men, whose ideas were in fashion at the time but were not taken seriously later, has proved to be "the most misunderstood aspect of pedagogy"). Maratta and Ross were color theorists (Maratta manufactured his own system of synthetic pigments), while Hambidge was the author of an elaborate treatise,
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in France. Works were hung alphabetically to emphasize an egalitarian philosophy. The exhibition was very well-attended but resulted in few sales. The relationship between Henri and Sloan, both believers in Ashcan realism, was a close and productive one at this time; Kuhn would play a key role in the
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In the spring of 1929, Henri was named as one of the top three living
American artists by the Arts Council of New York. Henri died of cancer that summer at the age of sixty-four. He was eulogized by colleagues and former students and was honored with a memorial exhibition of seventy-eight paintings
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The Armory Show, American's first large-scale introduction to
European Modernism, was a mixed experience for Henri. He exhibited five paintings but, as a representational artist, he naturally understood that Cubism, Fauvism, and Futurism implied a challenge to his style of picture-making. In fact,
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In 1908, Henri was one of the organizers of a landmark show entitled The Eight (after the eight painters displaying their works) at the
Macbeth Galleries in New York. Besides his own works and those produced by the "Philadelphia Four" (who had followed Henri to New York by this time), three other
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In
October 1882, Henri's father became embroiled in a dispute with a rancher, Alfred Pearson, over the right to pasture cattle on land claimed by the family. When the dispute turned physical, Cozad shot Pearson fatally with a pistol. Cozad was eventually cleared of wrongdoing, but the mood of the
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By 1895, Henri had come to reconsider his earlier love of
Impressionism, calling it a "new academicism." He was urging his friends and proteges to create a new, more realistic art that would speak directly to their own time and experience. He believed that it was the right moment for American
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In 1898, Henri married Linda Craige, a student from his private art class. The couple spent the next two years on an extended honeymoon in France, during which time Henri prepared canvases to submit to the Salon. In 1899 he exhibited "Woman in
Manteau" and
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said "not only was he a great painter, but ... I don't think it too much to call him the father of independent painting in this country." At his death, it was reported that he was cremated, and his ashes buried in the family vault in
Philadelphia.
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While traveling to the United States after visiting his summer home in
Ireland in November 1928, Robert Henri suffered an attack of neuritis, which crippled his leg. The underlying cause was metastatic prostate cancer. He was hospitalized at
514:, but when painters in his circle were rejected for the academy's 1907 exhibition, he accused fellow jurors of bias and walked off the jury, resolving to organize a show of his own. He would later refer to the academy as "a cemetery of art."
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painters to seek out fresh, less genteel subjects in the modern
American city. The paintings by Henri, Sloan, Glackens, Luks, Shinn, and others of their acquaintance that were inspired by this outlook eventually came to be called the
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Robert Henri, eminent American artist, died early yesterday morning at St. Luke's Hospital. Although he had been a patient at the institution since November, his illness was not generally known and his death came as a surprise to art
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on tiny wood panels that could be carried in a coat pocket along with a small kit of brushes and oil. This method facilitated the kind of spontaneous depictions of urban scenes which would come to be associated with his mature style.
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in New York. Gradually he became weaker, until he died of cardiac arrest early in the morning of July 12, 1929. His illness was not generally known, and came as a surprise in art circles. Upon his death, artist and pupil
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557:. The show later traveled to a number of cities from Newark to Chicago, prompting further discussion in the press about the revolt against academic art and the new ideas about acceptable subject matter in painting.
596:. Biographer William Innes Homer writes: "Henri's emphasis on freedom and independence in art , his rebuttal of everything the National Academy stood for, makes him the ideological father of the Armory Show."
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As a young man, he studied in Paris, where he identified strongly with the Impressionists, and determined to lead an even more dramatic revolt against American academic art, as reflected by the conservative
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in the winter, as real a human product as sweat, carrying the unsuppressed smell of human life." Ashcan painters began to attract public attention in the same decade in which the realist fiction of
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Henshaw (1957): "Lee-Cozad died (with his boots off of pneumonia) in New York City in 1906. He was buried in Pleasantville, NJ. Later his remains were disinterred and reburied in Providence, RI."
784:), for example, exhibit all the classic elements of his style: forceful brushwork, intense (if dark) color effects, evocation of personality (his and the sitter's), and generosity of spirit.
671:. "He gave his students, not a style (though some imitated him), but an attitude, an approach, ." He also lectured frequently about the theories of Hardesty Maratta, Denham Waldo Ross, and
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Henri was, by this point, at the heart of the group who argued for the depiction of urban life. He has given it urgency with slashing brush marks and strong tonal contrasts, learning from
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194:, America's first large-scale introduction to European Modernism (1913), Henri was mindful that his own representational technique was being made to look dated by new movements such as
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that argued for a scientific basis for composition. Henri's philosophical and practical musings were collected by former pupil Margery Ryerson and published as
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Leeds, Valerie Ann; Stuhlman, Jonathan (2011). From New York to Corrymore: Robert Henri and Ireland. Charlotte, NC: Mint Museum of Art. ISBN 978-0-9762300-9-0.
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Fittingly, among Henri's most enduring works are his portraits of his fellow painters. His 1904 full-length portrait of George Luks (in the collection of the
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The significance and often formative influence of Henri as a teacher and mentor is estimable. He also was instrumental in promoting women to be artists.
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In Philadelphia, Henri began to attract a group of followers who met in his studio to discuss art and culture, including several illustrators for the
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declared that, "Henri wanted art to be akin to journalism. He wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on
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Leeds, Valerie Ann (2013). Spanish Sojourns: Robert Henri and the Spirit of Spain. Savannah, GA: Telfair Museums. ISBN 978-0-933075-20-7.
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magazine wrote, "Henri, quite aside from his extraordinary personal charm, was an epoch-making man in the development of American art."
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Leeds, Valerie Ann (1994). My People: The Portraits of Robert Henri. Orlando, FL: Orlando Museum of Art. ISBN 1-880699-03-6.
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Vure, Sarah (2009). "After the Armory: Robert Henri, Individualism and American Modernisms". In Kennedy Elizabeth (ed.).
1101:. A 1957 AP news story suggests that Henri's father John Cozad/Richard Lee was disinterred and reburied in Rhode Island.
553:—were included. The exhibition was intended as a protest against the exhibition policies and narrowness of taste of the
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Leeds, Valerie Ann (2005). Robert Henri: The Painted Spirit. New York: Gerald Peters Gallery. ISBN 1-931717-15-X.
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is one of his most famous paintings and hangs in the permanent collection of the Metropolitan Museum of Art.)
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For several years, Henri divided his time between Philadelphia and Paris, where he met the Canadian artist
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There is also a listing for Robert Henri (along with Richard and Theresa Lee) in the database of
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Henri was named as one of the top three living American artists by the Arts Council of New York.
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and Italy during this period. At the end of 1891, he returned to Philadelphia, studying under
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Henshaw (1957): "Cozad, Nebraska, finally has found its founder after, lo, these many moons."
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and Randall Davey to come to Santa Fe. In 1918 he was elected as an associate member of the
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686:(1923), a book that remained in print for several decades. Henri's other students include
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Henshaw, Tom (April 28, 1957). "Man Behind the Name: Mystery of Cozad is Finally Broken".
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1940:. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.
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Henri made several trips to Ireland's western coast and rented Corrymore House near
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Rose (1975) refers to Henri as "blind and hostile" to Picasso and Matisse (p. 30).
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446:("The Snow"), which was purchased by the French government for display in the
587:, the first nonjuried, no-prize show in the U.S., which he modeled after the
174:; June 24, 1865 – July 12, 1929) was an American painter and teacher.
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to adopt an open-door exhibition policy. He also persuaded fellow artists
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182:. Together with a small team of enthusiastic followers, he pioneered the
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The ashes will be buried in the family vault at Philadelphia this week.
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1906:
Revolutionaries of Realism: The Letters of John Sloan and Robert Henri
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From 1915 to 1927, Henri was a popular and influential teacher at the
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The Allure of the Maine Coast: Robert Henri and His Circle, 1903–1918
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198:, though he was still ready to champion avant-garde painters such as
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305:. "A born teacher, Henri enjoyed immediate success at the school."
285:, came to admire greatly the work of Francois Millet, and embraced
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Hughes, Robert (February 5, 2002). "The Wave from the Atlantic".
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American Women Modernists: The Legacy of Robert Henri, 1910–1945
768:) and his 1904 portrait of John Sloan (in the collection of the
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at the Pennsylvania Academy. In 1892, he began teaching at the
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artists who painted in a different, less realistic style—
1934:(full pdf) from The Metropolitan Museum of Art Libraries
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American Painting from the Armory Show to the Depression
249:, where the young artist completed his first paintings.
431:. Morrice introduced Henri to the practice of painting
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Spanish Sojourns: Robert Henri and the Spirit of Spain
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Robert Henri in Santa Fe : His Work and Influence
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of American art. They spurned academic painting and
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From New York to Corrymore: Robert Henri and Ireland
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Members of the American Academy of Arts and Letters
319:who would become known as the "Philadelphia Four":
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1288:Bennard B. Perlman; Arthur Bowen Davies (1998).
612:Mary Agnes, one of the children of Dooagh (1924)
1845:Leeds, Valerie Ann; Stuhlman, Jonathan (2011).
1382:. Santa Fe, New Mexico: Gerald Peters Gallery.
496:, was a twenty-two-year-old cartoonist for the
1745:. Chicago: Terra Foundation For American Art.
281:, where he studied under the academic realist
225:. In 1871, Henri's father founded the town of
1291:The Lives, Loves, and Art of Arthur B. Davies
8:
2019:Pennsylvania Academy of the Fine Arts alumni
1572:Minerva Kohlhepp Teichert: With a Bold Brush
217:Robert Henri was born Robert Henry Cozad in
1984:American alumni of the École des Beaux-Arts
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406:were calling attention to slum conditions.
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233:, where John J. Cozad founded the town of
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1910:. Princeton: Princeton University Press.
1794:. Princeton: Princeton University Press.
1658:Goodman, Helen. "Robert Henri, Teacher."
1407:. Albuquerque: University of New Mexico.
1887:. Portland, ME: Portland Museum of Art.
1809:My People: The Portraits of Robert Henri
382:as an art of mere surfaces. Art critic
2009:Moore College of Art and Design faculty
1994:Art Students League of New York faculty
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460:from 1902, where his students included
303:Philadelphia School of Design for Women
1811:. Orlando, FL: Orlando Museum of Art.
1849:. Charlotte, NC: Mint Museum of Art.
1441:"Robert Henri Dies; Ill Eight Months"
585:Exhibition of The Independent Artists
531:John and Mable Ringling Museum of Art
259:Pennsylvania Academy of the Fine Arts
107:Pennsylvania Academy of the Fine Arts
7:
500:(Henri's 1911 portrait of Marjorie,
241:town turned against him. He fled to
229:. In 1873, the family moved west to
1830:. New York: Gerald Peters Gallery.
1662:, September 1979, pp. 158–160.
2044:20th-century American male artists
2039:19th-century American male artists
2014:National Academy of Design members
1612:"Robert Henri, George Luks (1904)"
510:In 1906, Henri was elected to the
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1868:. Savannah, GA: Telfair Museums.
1743:The Eight and American Modernisms
402:was finding its audience and the
1932:Robert Henri exhibition catalogs
1828:Robert Henri: The Painted Spirit
1726:. New York: Dover Publications.
1294:. SUNY Press. pp. 113–114.
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905:Princeton University Art Museum
802:Portrait of Carl Gustav Waldeck
669:Art Students League of New York
257:In 1886, Henri enrolled at the
1974:20th-century American painters
1964:19th-century American painters
1902:Perlman, Bennard, ed. (1997).
1723:Robert Henri: His Life and Art
980:Whitney Museum of American Art
1:
1681:Homer, William Innes (1969).
955:Edna Smith in a Japanese Wrap
941:The Detroit Institute of Arts
873:, 1910 (photograph from 1910)
456:beginning in 1900 and at the
1764:. Rutgers University Press.
1760:Wardle, Marian, ed. (2005).
1378:Leeds, Valerie Anne (1998).
901:Mildred Clarke von Kienbusch
27:American painter and teacher
2034:People from Cozad, Nebraska
2024:People from Cozaddale, Ohio
1883:Nicoll, Jessica F. (1995).
1864:Leeds, Valerie Ann (2013).
1826:Leeds, Valerie Ann (2005).
1807:Leeds, Valerie Ann (1994).
1685:Robert Henri and his Circle
1405:The Taos Society of Artists
974:Gertrude Vanderbilt Whitney
778:The Corcoran Gallery of Art
753:. Forbes Watson, editor of
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1989:American portrait painters
1570:Jan Underwood Pinborough,
1551:Homer (1969), pp. 184–194.
1323:Homer (1969), pp. 152–156.
959:Indianapolis Museum of Art
762:National Gallery of Canada
751:Metropolitan Museum of Art
575:In 1910, with the help of
555:National Academy of Design
512:National Academy of Design
366:
283:William-Adolphe Bouguereau
180:National Academy of Design
29:
1786:Brown, Milton W. (1955).
1720:Perlman, Bennard (1991).
1403:White, Robert R. (1998).
1248:Hunter (1959), pp. 28–40.
1065:. New York: Basic Books.
1042:Portrait of Eugenie Stein
923:Albright-Knox Art Gallery
842:New Orleans Museum of Art
265:, where he studied under
247:Atlantic City, New Jersey
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18:The Eight (Ashcan School)
1999:Painters from Cincinnati
1691:Cornell University Press
1476:"Robert Henri's Funeral"
1266:Homer (1969), pp. 90–94.
1195:Homer (1969), pp. 25–27.
1095:Providence, Rhode Island
30:Not to be confused with
2029:Taos Society of Artists
1427:Perlman (1991), p. 135.
1368:Perlman (1991), p. 133.
1059:Henri, Robert (2007) .
939:, 1914, oil on canvas,
770:National Gallery of Art
638:Taos Society of Artists
454:Veltin School for Girls
418:National Gallery of Art
416:, 1902, oil on canvas,
1979:Académie Julian alumni
1969:American male painters
1632:Henri, Robert (1904),
1583:Wardle (2005), p. 206.
1238:. Episode 5 of 8. BBC.
1046:The National Arts Club
613:
589:Salon des Indépendants
583:, Henri organized the
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458:New York School of Art
424:
404:muckraking journalists
2004:Artists from Nebraska
1672:. Lincoln, Nebraska.
1601:Homer (1969), p. 209.
1542:Homer (1969), p. 269.
1350:Homer (1969), p. 174.
1332:Homer (1969), p. 155.
1314:Homer (1969), p. 146.
1278:Homer (1969), p. 119.
1257:Homer (1969), p. 86.
1147:Perlman (1991), p. 1.
611:
525:
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2054:Ashcan School people
1592:Wardle (2005), p. 4.
1510:"Burial Information"
1224:Homer (1969), p. 71.
1215:Homer (1969), p. 65.
708:Henry Ives Cobb, Jr.
663:Influence and legacy
604:Ireland and Santa Fe
503:The Masquerade Dress
468:and his future wife
429:James Wilson Morrice
291:École des Beaux Arts
117:École des Beaux Arts
1938:Robert Henri Papers
1560:Vure (2009), p. 60.
1514:Swan Point Cemetery
1359:Vure (2009), p. 57.
1205:oxfordindex.oup.com
1165:Homer (1969), p. 7.
1099:Swan Point Cemetery
806:Robert Henri Museum
651:St. Luke's Hospital
543:Maurice Prendergast
452:. He taught at the
449:Musée du Luxembourg
353:William Morris Hunt
349:Henry David Thoreau
337:Ralph Waldo Emerson
1484:The New York Times
1449:The New York Times
728:Peppino Mangravite
692:Arnold Franz Brasz
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316:Philadelphia Press
65:Robert Henry Cozad
55:Robert Henri, 1897
1875:978-0-933075-20-7
1856:978-0-9762300-9-0
1301:978-0-7914-3835-0
1072:978-0-06-430138-1
535:Sarasota, Florida
498:New York Journal.
470:Josephine Nivison
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97:New York City, US
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782:Washington, D.C.
740:Mabel Killam Day
724:Minerva Teichert
678:Dynamic Symmetry
644:Death and burial
622:state art museum
551:Arthur B. Davies
486:Louis D. Fancher
414:Snow in New York
396:Theodore Dreiser
321:William Glackens
243:Denver, Colorado
219:Cincinnati, Ohio
188:American realism
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1487:. July 14, 1929
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381:
380:Impressionism
377:
376:Ashcan School
370:
369:Ashcan School
363:Ashcan School
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329:Everett Shinn
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296:
293:. He visited
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1615:. Retrieved
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1179:. Retrieved
1170:
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1089:
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1053:Bibliography
1041:
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994:Portrait of
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696:Stuart Davis
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673:Jay Hambidge
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443:
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413:
400:Frank Norris
372:
357:George Moore
341:Walt Whitman
314:
312:
263:Philadelphia
256:
239:
223:Mary Cassatt
216:
208:
176:
143:Robert Henri
142:
141:
92:(1929-07-12)
43:Robert Henri
36:
32:Henri Robert
1959:1929 deaths
1954:1865 births
996:Fay Bainter
594:Armory Show
568:, and from
325:George Luks
192:Armory Show
1948:Categories
1771:0813536839
1733:0486267229
1700:0878173269
1689:. Ithaca:
1635:John Sloan
1414:0826319467
1389:0935037837
1181:August 17,
1109:References
1027:Bernardita
1012:Mata Moana
871:Dutch Girl
856:The Dancer
720:John Sloan
634:John Sloan
630:Leon Kroll
577:John Sloan
570:Frans Hals
345:Émile Zola
333:John Sloan
213:Early life
71:1865-06-24
1519:April 16,
1491:April 17,
1456:April 17,
1114:Citations
822:, 1898,
581:Walt Kuhn
518:The Eight
253:Education
204:Max Weber
103:Education
1463:circles.
957:, 1915,
921:, 1914,
903:, 1914,
840:, 1909,
804:, 1896,
755:The Arts
529:, 1909,
444:La Neige
434:pochades
388:Broadway
295:Brittany
231:Nebraska
131:Movement
126:Painting
1800:2310948
1653:Sources
919:Tam Gan
788:Gallery
749:at the
564:, from
1914:
1891:
1872:
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1834:
1815:
1798:
1768:
1749:
1730:
1697:
1411:
1386:
1298:
1069:
1029:, 1922
1014:, 1920
999:, 1918
978:1916,
888:, 1913
858:, 1910
766:Ottawa
738:, and
618:Dooagh
549:, and
527:Salome
488:, and
398:, and
355:, and
331:, and
273:, and
196:Cubism
1479:(PDF)
1444:(PDF)
1081:Notes
592:1913
235:Cozad
1912:ISBN
1889:ISBN
1870:ISBN
1851:ISBN
1832:ISBN
1813:ISBN
1796:OCLC
1766:ISBN
1747:ISBN
1728:ISBN
1695:ISBN
1643:2023
1619:2023
1521:2015
1493:2015
1458:2015
1409:ISBN
1384:ISBN
1296:ISBN
1183:2022
1067:ISBN
579:and
309:Work
202:and
87:Died
81:, US
61:Born
1097:'s
780:in
772:in
764:in
572:".
261:in
186:of
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167:aɪ
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152:ˈ
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