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Lot Essay
Robert Henri, a leader of the Ashcan School and an influential teacher, is perhaps best known for his body of work comprised of spirited and striking portraits of children. Portrait of Cara in a Red Dress exemplifies Henri's unique approach to portrait painting that captures not only specific facial features and articles of clothing, but more importantly the elusive inner spirit of the sitter.
Henri's portraits were not the result of costly commissions. Instead, the artist chose his sitters based on the vitality and character they emanated. Henri was particularly intrigued with children and produced a body of work later in his career that focused primarily on this subject that have come to be considered some of his finest achievements. The success of these portraits, such as Portrait of Cara in a Red Dress, relies on Henri's ability to interact with his sitter and translate onto canvas a profoundly mesmerizing image that transcends a mere rendition of a child's face and dress. Henri writes: "If you paint children you must have no patronizing attitude towards them. Whoever approaches a child without humility, without wonderment, and without infinite respect, misses in his judgement of what is before him and loses an opportunity for a marvelous response. In the faces of children I see a look of wisdom and of kindness expressed with such certainty that I knew it was the expression of a whole race. (R. Henri, The Art Spirit, Boulder, Colorado, 1923, 1984, reprint, pp. 236-237) In Portrait of Cara in a Red Dress, Henri portrays a young girl whose carefree hair, casual stance, penetrating stare and ruffled dress exudes a unique character composed of emotional strength and innocence.
Henri's painting technique profoundly underscored the visual impact of his portraits. Henri writes about his painting style: "It is not the way you put paint on, but what you ask of it that counts. Our style is the way you talk in paint. The hair is wonder in its gamut from materialism to idealism, from detail to bigness...The line on the head between the hair and the face is often a great opportunity for expression in a picture...The eye of a young person is clear cut, of an old person indefinite...Make the forms of a garment so that a trip through its hills and dales will be delightful...Clothes should have not limpness but the beauty of activity. Great things should be happening, currents should be running through...Think what you have to say about that red dress and white collar?...The wrinkles of a child's dress are full of the history of the day. The little child spoils the clean dress and makes it. The clothes have become part of the child. ...Paint her clothes, laughing and brave." (The Art Spirit, pp. 249-257) Utilizing vigorous brushwork and saturated colors, Henri in Portrait of Cara in a Red Dress is able to distill in a wisp of hair, a crease of a dress or a curve of the nose, the essence of his sitter.
Portrait of Cara in a Red Dress exemplifies the hallmarks that make Henri's images of children some of his most coveted work. Henri's heralded painting technique combined with his love and respect for children enabled him to produce portraits such as Portrait of Cara in a Red Dress that now remain as iconic images of humanity.
Henri's portraits were not the result of costly commissions. Instead, the artist chose his sitters based on the vitality and character they emanated. Henri was particularly intrigued with children and produced a body of work later in his career that focused primarily on this subject that have come to be considered some of his finest achievements. The success of these portraits, such as Portrait of Cara in a Red Dress, relies on Henri's ability to interact with his sitter and translate onto canvas a profoundly mesmerizing image that transcends a mere rendition of a child's face and dress. Henri writes: "If you paint children you must have no patronizing attitude towards them. Whoever approaches a child without humility, without wonderment, and without infinite respect, misses in his judgement of what is before him and loses an opportunity for a marvelous response. In the faces of children I see a look of wisdom and of kindness expressed with such certainty that I knew it was the expression of a whole race. (R. Henri, The Art Spirit, Boulder, Colorado, 1923, 1984, reprint, pp. 236-237) In Portrait of Cara in a Red Dress, Henri portrays a young girl whose carefree hair, casual stance, penetrating stare and ruffled dress exudes a unique character composed of emotional strength and innocence.
Henri's painting technique profoundly underscored the visual impact of his portraits. Henri writes about his painting style: "It is not the way you put paint on, but what you ask of it that counts. Our style is the way you talk in paint. The hair is wonder in its gamut from materialism to idealism, from detail to bigness...The line on the head between the hair and the face is often a great opportunity for expression in a picture...The eye of a young person is clear cut, of an old person indefinite...Make the forms of a garment so that a trip through its hills and dales will be delightful...Clothes should have not limpness but the beauty of activity. Great things should be happening, currents should be running through...Think what you have to say about that red dress and white collar?...The wrinkles of a child's dress are full of the history of the day. The little child spoils the clean dress and makes it. The clothes have become part of the child. ...Paint her clothes, laughing and brave." (The Art Spirit, pp. 249-257) Utilizing vigorous brushwork and saturated colors, Henri in Portrait of Cara in a Red Dress is able to distill in a wisp of hair, a crease of a dress or a curve of the nose, the essence of his sitter.
Portrait of Cara in a Red Dress exemplifies the hallmarks that make Henri's images of children some of his most coveted work. Henri's heralded painting technique combined with his love and respect for children enabled him to produce portraits such as Portrait of Cara in a Red Dress that now remain as iconic images of humanity.