M. FORD CREECH ANTIQUES
ROBERT (COZAD) HENRI
American (New York / Pennsylvania) 1865-1929
"FLYING SPRAY"
Probably Monhegan
Oil on panel
Unsigned, verso inscribed by the artist, "Flying Spray"
Authenticated
Provenance: A private New England collection
Museums (107): most major museums have at least one in the collection
Books: 378
Periodicals: 67
Note: Most know Henri for his strong portraits, lit usually with classical ¾ quarter lighting, producing powerful
contrasts, which he enhanced through slashing brush strokes and quite strong coloration. However, he also did many
seascapes, cityscapes and landscapes. Many remain unsigned, as this example. One of Henri’s colleagues was
Canadian James Wilson Morrice, who introduced him to the practice of painting pochades on tiny wood panels that
could be carried in a coat pocket along with a minimal kit of brushes and oil. This facilitated the kind of spontaneous
depictions of scenes such as the example above.
Although unsigned, the work has been authenticated as "unmistakably by the hand of Henri". It is consistent with
Henri's body of work, and palette (coloration). As well, the compositional devices and brushwork parallel a small
panel, Luxembourg Gardens, identified in Henri's records as #1-37-A-1, and purchased through this gallery in 2006
(shown below). The brushwork in the sky and sea are also identical to that of "Cumulous Clouds Over the
East River", a small signed oil on panel sold by Doyle 11/2005.
Image Size: 7 3/4" x 10 1/4"
sold
#5618
(Luxembourg Gardens, 3 3/4" x 6", unsigned. Henri Inventory #1-37-A-1)
HENRI, Robert (1865-1929)
Birth place: Cincinnati, OH
Death place: Cincinnati
Addresses: Philadelphia, 1891-99/Paris, France; NYC, c.1901
Profession: Painter
Studied: pupil of Eakins & Hovenden at Pennsylvania Academy of Fine Arts, 1886-88; Academy Julian, Paris, with
Bouguereau, Robert-Fleury, 1888-91; Ecole des Beaux-Arts; Spain; Italy.
Exhibited: National Academy of Design, 1878; at Pennsylvania Academy of Fine Arts, 1892-1929 (gold, 1914, 1929);
Salons of the Société Nationale des Beaux Arts, Paris, 1896, 1897, 1899; Pan-Am. Exposition, Buffalo, 1901 (medal);
St. Louis Exposition, 1904 (medal); Art Institute of Chicago, 1905 (prize); Boston Arts Club, 1907, 1908; Corcoran Gallery,
1907-28; Arts Club Philadelphia 1909 (gold); Buenos Aires Exposition, 1910 (medal); Armory Show, 1913; Pan.-Pacific
Exposition, San Francisco, 1915 (medal); Society Independent Artists, 1919-29; Wilmington Society Fine Arts, 1920 (prize);
"The Ashcan Artists and their New York," National Museum American Art, 1995
Member: Society of American Artists, 1903; Associate member of the National Academy of Design, 1904; National A,
1906; National Institute of Arts and Letters; Portrait Painters; National Arts Club; American Painters & Sculptors; Taos
Society Artists; Los Angeles Modern Art Society; Society Independent Artists; Boston Arts Club; New Society Artists;
Woodstock Art Association
Work: Luxembourg Gallery, Paris; Art Institute of Chicago; Carnegie Institute; Gallery Spartanburg, SC; Dallas Art Association;
Columbus Gallery Fine Art; New Orleans Art Association; Brooklyn Institute Museum; at Pennsylvania Academy of Fine Arts;
Carolina Art Association; Kansas City Art Institute; San Francisco Institute Art; Metropolitan Museum Art;
National Arts Club; Minneapolis Institute Art; Buffalo Fine Art Academy; Oberlin College Gallery; Santa Fe Museum Art &
Architecture; Memphis Museum; Cincinnati Museum; Detroit Institute; Toledo Museum Art; Milwaukee Art Institute;
Telfair Academy; Corcoran Gallery Art; City Art Museum of St. Louis; Los Angeles County Museum of Art; Wilmington
Society Fine Art; Butler Art Institute; Newark Museum; Decatur Art Institute; Canajoharie Art Gallery; Rochester Museum;
Montclair Art Museum; San Diego Museum; Des Moines Art Academy.
Comments: The outspoken leader of The Eight," later called the "Ashcan Group" who were largely responsible for creating
the famous Armory Show of 1913. He was a highly influential teacher at Art Student’s League; Valtin School; Ferrar School;
New York School of Art (previously known as the Chase School); and his own Henri School, all in NYC. His collection of
lectures, published as The Art Spirit (1923) greatly influenced the course of American art because he encouraged many students
towards independence and personal expression, urging them, in particular, to pay close attention to their feelings and reactions to
subject matter and to translate these directly into their paintings. As a teacher he also stressed self-reliance and self-respect.
In his paintings Henri employed a slashing, quick attack to record feeling and sensation. His portraits were
of young women, children, and foreigners. He painted Indian portraits in San Diego in 1913 and spent the summer of 1916 in
Santa Fe, painting, followed there by friends and students.
Sources:
Who's Who, 1927; William Innes Homer, Robert Henri & His Circle (1969); Mecklenburg, Zurier, and Snyder, Metropolitan Lives: the Ashcan
Artists and their New York; Bennard B. Perlman, The Immortal Eight: American Painting from Eakins to the Armory Show, 1870-1913
(New York, 1962); Baigell, Dictionary; Peggy and Harold Samuels, 219-220; Eldredge, et al., Art in New Mexico, 1900-1945, 198; Fink,
American Art at the Nineteenth-Century Paris Salons, 355; Woodstock Art Association; Falk, Exhibition Record Series; Curtis, Curtis,
and Lieberman, 183."
We welcome and encourage all inquiries. We will make every attempt to answer any questions you might have.
For information, call (901) 761-1163 or (901) 827-4668 or email mfcreech@bellsouth.net
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