Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 345 del v našem katalogu avtorja Robert Henri
Kratek opis
Betalo Rubino, Dramatic Dancer (1916) je slika avtorja Robert Henri, ki pritegne največ pogledov; original se nahaja v muzeju Saint Louis Art Museum, Saint Louis. Nato se pogled smeri k The Green Fan (Girl of Toledo, Spain) in O'Malley Home (Achill Island, County Mayo, Ireland) (1913). Med 345 dela umetnika Robert Henri v našem katalogu so ta 100 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
The air in the room feels heavy, charged with the residue of a performance just concluded or perhaps one about to begin. Betalo Rubino stands at the center of the frame, a figure of immense strength and theatricality. She does not merely pose; she occupies the space with a direct, unyielding gaze that meets the viewer head-on. Her hands rest firmly on her hips, a gesture of confidence that anchors…
In "The Green Fan (Girl of Toledo, Spain)", the American artist Robert Henri captures a quiet moment of stillness. A young girl occupies the center of the scene, her presence commanding the viewer's immediate attention. She holds a green fan, a singular point of color that anchors the composition. Her attire carries the warmth of red and orange tones, reflecting the traditional clothing of her surroundings. This palette breathes life…
To gaze upon Robert Henri’s O'Malley Home is to be gently swept away from the clamor of modern life and deposited into the emerald embrace of Achill Island in County Mayo. Painted in 1913, this oil on panel piece transcends mere landscape depiction; it is a profound meditation on rural permanence and the enduring spirit of community. Henri captures not just a vista, but a feeling—a deep, abiding sense of…
Young Woman in Black is an oil on canvas portrait executed by the artist Robert Henri. The painting was created in 1902 within New York City. This work is a vertical composition that focuses on the subject's face and upper body against a dark, monochromatic background.
The artwork is a portrait of an elegant woman dressed in formal attire, featuring a black velvet dress and a matching hat. The composition is vertical, with the figure occupying most of the frame and positioned slightly off-center. The woman's body is turned slightly away from the viewer, and her gaze is directed downward. She is set against a plain, undifferentiated background that focuses all attention on the subject.
In this 1906 oil on canvas, we encounter Felix Asiego, a man defined by the gravity of his profession. He stands poised, draped in the heavy, ceremonial attire of a Spanish matador. There is a quiet dignity in his posture, a stillness that suggests the calm before the storm of the bullring. A red scarf provides a sharp point of color against the more muted tones of his ensemble, while…
In this 1913 oil on canvas, Robert Henri presents us with My Friend Brien. The portrait captures Brien O’Malley, a man who served as the artist's friend and guide. Henri painted this work during his first visit to the town of Achill, Ireland, a trip that occurred in 1913. It is a direct encounter between the painter and his subject, recorded in a moment of shared presence.
An elderly man sits in a quiet, heavy stillness, his profile cutting through a dark and indistinct background. He wears a suit and tie, the fabric rendered in deep blues and blacks that seem to merge with the shadows surrounding him. His face, the focal point of this 1913 oil on canvas, tells a story of years lived through a palette of warm reds, pinks, and yellows. These tones suggest…
A fifteen-year-old dancer named Josefa Cruz turns her head over a shoulder. She occupies a space carved out by deep shadows and midnight blues. Her skin holds a pale, luminous quality against the dark, undefined background. A pink headband rests in her reddish-brown hair, with ribbons that fall softly toward her shoulders. The light enters from the upper left, catching the curve of her neck and the edge of her…
Montparnasse by Robert Henri captures a specific pulse of life from about 1898. The canvas holds a busy street scene in Montparnasse, Paris. It is a moment of urban movement caught in oil. Pedestrians drift across the sidewalks, their figures scattered through the depth of the city. They move between the shadows of buildings and the light of the open road.
George Cotton Smith1908 · National Gallery of Art
12
Spanish Girl of Segovia (also known as Peasant Girl of Segovia)1912 · New Britain Museum of American Art
13
Newsgirl, Madrid, Spain1908
14
An Imaginative Boy1915 · New Britain Museum of American Art
15
Paris Night1898 · Metropolitanski muzej umetnosti
16
Portrait of Maja in Dark Blue1903
17
Marine with Rocks1909
18
Wee Maureen
19
Irish Girl (Mary Lavelle)1913
20
Carleton Eldredge Noyes (1872-1950)1903 · Harvard Art Museums
21
Spanish Urchin (also known as Laugh Cheeks)
22
Portrait of Carl Gustav Waldeck1896 · Saint Louis Art Museum
23
Snow in New York1902 · National Gallery of Art
24
Eakers1904 · Harvard Art Museums
25
Spanish Girl of Madrid (Una Chula)1908 · Virginia Museum of Fine Arts
26
St. Nozaire, France1890
27
Irish Boy1898
28
Ballet Dancer1901 · Museum of Fine Arts
29
The Irish Girl1900
30
Calero (Antonio Baños)1908 · Museum of Fine Arts
31
John Sloan1909
32
Edith Reynolds1908 · National Gallery of Art
33
Volendam Street Scene1910 · National Gallery of Art
34
Modiste of Madrid1906
35
Cori Laughing1907
36
Modestilla de Madrid1906
37
The Laughing Boy (also known as Jobie)1910
38
Dutch Soldier1907
39
Patience Serious1915 · Cincinnati Art Museum
40
Figure in Motion1913
41
Irish Lad1913
42
La Mora1912
43
Irish Lad1913
44
Upper Hudson1917
45
Sis1913
46
Julianita Ready for the Dance1917
47
Viv in Blue Stripe1914
48
Sammy and His Mother1915
49
Helen1919 · Indianapolis Museum of Art
50
Young Sport1922
51
Mary with a Red Ribbon1926 · Rhode Island School of Design Museum of Art
52
Untitled (also known as Alanna)1928
53
Spanish Girl1912
54
El Segoviano1924
55
John1908 · Metropolitanski muzej umetnosti
56
Laughing Child1907 · Whitney Museum of American Art
57
Head of a Woman1896 · New Britain Museum of American Art
58
Segovian Girl1912
59
The Young Girl1915 · Detroit Institute of Arts
60
Cathedral Woods, Monhegan Island1911 · Toledo Museum of Art
61
O in Black with Scarf (also known as Marjorie Organ Henri)1910 · Fine Arts Museums of San Francisco
62
Indian Girl in White Blanket1917 · National Gallery of Art
63
Girl seated by the seaMuzej fine arts
64
Nelson1914
65
La Madrelenita1910
66
Tam Gan1914 · Buffalo AKG Art Museum
67
The Laundress1916
68
Sissy in Yellow1924
69
KathleenHuntington Museum of Art
70
Old Spaniard - Lagartija,'' Florencio Rodriques''1923
71
Irish girl (Mary O'Donnel)Muzej fine arts
72
Catharine1913 · National Gallery of Art
73
Summer Storm1902
74
Fay Bainter1918 · Brigham Young University Museum of Art
75
Nora1913
76
Early Morning, Venice1891
77
Beach at Atlantic City1893 · Phoenix Art Museum
78
Street Corner1893
79
Sunlight, Girl on Beach, Avalon1893
80
Street Corner in Paris1896
81
Place in Paris1895
82
Night on Boardwalk1898 · Museum of Fine Arts
83
George Luks1904 · Narodna galerija Kanade
84
The Model1899 · Museum of Fine Arts
85
Ice Floe1902 · Fine Arts Museums of San Francisco
86
F. Ambrose Clark1904 · Metropolitanski muzej umetnosti
87
Notre Dame and the Seine1900 · New Britain Museum of American Art
88
Young Woman in White1904 · National Gallery of Art
89
Study for Storm Tide1903
90
Portrait of Miss Leora Dryer in Riding Custume1902
91
Spanish Dancer - Seviliana (also known as Dancer with Castanet)1904
92
Rough Seas near Lobster Point1903
93
The March Wind1902
94
Fete du Dieu - Concarneau1899
95
The Rain Clouds (Paris)1902
96
Willie Ge1904
97
William Glackens1904
98
Leunkin Bay, June1903
99
Storm Weather - Wyoming Valley1902
100
Storm Tide1903
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Robert Henri | Slike iz tega seznama |
|---|---|---|---|
 National Gallery of Art |
Washington | 9 | George Cotton Smith, Snow in New York, Edith Reynolds |
 New Britain Museum of American Art |
New Britain | 5 | Spanish Girl of Segovia (also known as Peasant Girl of Segovia), An Imaginative Boy, Head of a Woman |
 Museum of Fine Arts |
Houston | 4 | Ballet Dancer, Calero (Antonio Baños), Night on Boardwalk |
 Metropolitanski muzej umetnosti |
New York | 8 | Paris Night, John, F. Ambrose Clark |
 Muzej fine arts |
Boston | 6 | Girl seated by the sea, Irish girl (Mary O'Donnel) |
 Art Institute of Chicago |
Chicago | 4 | Young Woman in Black, La Madrilenita |
 Saint Louis Art Museum |
Saint Louis | 2 | Betalo Rubino, Dramatic Dancer, Portrait of Carl Gustav Waldeck |
 Harvard Art Museums |
Cambridge | 2 | Carleton Eldredge Noyes (1872-1950), Eakers |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
Montparnasse by Robert Henri captures a specific pulse of life from about 1898. The canvas holds a busy street scene in Montparnasse, Paris. It is a moment of urban movement caught in oil. Pedestrians drift across the sidewalks, their figures scattered through the depth of the city. They move between the shadows of buildings and the light of the open road.
In this 1906 oil on canvas, we encounter Felix Asiego, a man defined by the gravity of his profession. He stands poised, draped in the heavy, ceremonial attire of a Spanish matador. There is a quiet dignity in his posture, a stillness that suggests the calm before the storm of the bullring. A red scarf provides a sharp point of color against the more muted tones of his ensemble, while…
The air in the room feels heavy, charged with the residue of a performance just concluded or perhaps one about to begin. Betalo Rubino stands at the center of the frame, a figure of immense strength and theatricality. She does not merely pose; she occupies the space with a direct, unyielding gaze that meets the viewer head-on. Her hands rest firmly on her hips, a gesture of confidence that anchors…
In this intimate portrait, titled Young Sport, Robert Henri turns his attention to a young boy seated in a chair. Painted about 1922, the work captures a quiet, candid moment that feels far removed from the formal, staged portraiture of the era. There is a certain unhurried dignity in the boy's direct gaze and the slight, perhaps mischievous, smile that touches his expression.
Betalo Rubino, Dramatic Dancer (1916), Saint Louis Art Museum, Saint Louis. Zatem sledeta The Green Fan (Girl of Toledo, Spain) in O'Malley Home (Achill Island, County Mayo, Ireland) (1913).
51 let: delo Betalo Rubino, Dramatic Dancer iz leta 1916, Robert Henri pa je bil/a rojen/a leta 1865.
Betalo Rubino, Dramatic Dancer, The Green Fan (Girl of Toledo, Spain), O'Malley Home (Achill Island, County Mayo, Ireland), Young Woman in Black, Lady in Black Velvet, Portrait of El Matador, Felix Asiego, My Friend Brien, The Guide to Croaghan (also known as Brien O'Malley), La Madrilenita in Montparnasse. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 345 del avtorja Robert Henri, datiranih od 1890 do 1928.
Večini v National Gallery of Art (Washington), New Britain Museum of American Art (New Britain) in Museum of Fine Arts (Houston). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1900s: 37 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa Portrait of El Matador, Felix Asiego.
Na tej strani je najstarejše delo iz St. Nozaire, France (1890) in najstarejše iz Untitled (also known as Alanna) (1928).
Portrait (31), Woman (25) in Dark background (11), na 100 delih na tej strani.
Oil On Canvas, za 62 od 100 del na tej strani.
Ashcan school, glede na originala na tej strani.
George Cotton Smith, Snow in New York in Edith Reynolds: v muzeju National Gallery of Art, Washington se nahaja 7 del z te strani.
Robert Henri, rojen Robert Henry Cozad v Cincinnatiju, Ohio, leta 1865, je že od samega začetka nosil občutek razseljenosti in ponovne izume, ki bi globoko oblikoval tako njegovo življenje kot umetnost. Njegovo otroštvo ni bilo idilično; zasenčeno je bilo s burnim odnosom med njegovim očetom, Johnom Jacksonom Cozadom – moškim ambicij in tveganja, igralcem na srečo in nepremičninskim razvijalcem – in njegovo matero, Thereso Gatewood Cozad. Ta nestabilnost se je končala s dramatičnim dogodkom leta 1882: smrtnim streljanjem zaradi spora o zemljišču, ki je družino prisililo na beg in sprejemanje novih identitet, da bi se izognili maščevanju. Mladi Robert je postal Robert Henri, nameren prelom z preteklostjo, polno konfliktov, in simbolično ponovno rojstvo kot umetnik. Potovanje proti zahodu skozi Nebrasko in Kolorado, ki se je končalo v New Yorku in Atlantic Cityju, mu je vlilo globoko sočutje do tistih, ki živijo na obrobju družbe – sočutje, ki bi postalo definicija njegove umetniške vizije. Ta zgodnja izkušnja pretresov in ponovne izume je spodbudila duh neodvisnosti in zavezanost prikazovanju življenja tako, kot resnično je, neobremenjeno s konvencijami ali družbenimi pričakovanji.
Henrijevo formalno umetniško izobraževanje se je začelo na Pennsylvania Academy of the Fine Arts v Philadelphiji pod vodstvom Thomasa Anshutza, kjer je pilil svoje tehnične spretnosti. Vendar pa je bilo njegovo naslednje potovanje v Pariz leta 1888 tisto, ki je resnično zanetilo njegov umetniški preporod. Sprva ga je privlačila akademska tradicija na Académie Julian in vpliv mojstrov kot sta William-Adolphe Bouguereau in François Millet, Henri pa se je postopoma začel nagibati k impresionizmu. A se ni zadovoljil zgolj s posnemanjem tega, kar je videl; iskal je globljo interakcijo z resničnostjo – način za zajemanje ne le minljivih učinkov svetlobe, ampak tudi surove čustvene energije in vitalnosti sodobnega življenja. Ta pot ga je vodila k sprejemanju pogumnejšega, neposrednejšega pristopa, ki ga je vplival nizozemski realist Franz Hals, katerega sproščeno slikanje in psihološka vpoglednost so globoko odmevali pri Henrijevi lastni umetniški občutljivosti. Začel je eksperimentirati z *pochadami*, majhnimi lesenimi ploščami, ki se uporabljajo za hitre skice, kar spodbuja spontanost in neposrednost v njegovem delu. Po vrnitvi v Ameriko je postal predan učitelj, posreduječi ne le tehniko, ampak tudi filozofijo umetnosti, zasnovano na opazovanju, iskrenosti in individualnem izražanju.
Robert Henrijev vpliv na ameriško umetnost se je razširil daleč onkraj njegovih lastnih platna; postal je katalizator sprememb, ki so izzvale konservativne norme uveljavljenega umetniškega sveta. Bil je osrednja figura v nastanku Ashcan School – skupine umetnikov, ki si upajo prikazati krute resničnosti mestnega življenja, od živahnih ulic do prenatrpanih stanovanj. Henrijeva zavezanost realizmu in zavračanje akademske pretencioznosti ga je leta 1908 vodilo k organizaciji “The Eight” – kolektiva podobno mislečih umetnikov, vključno z Williamom Glackensom, Georgeom Luksom, Everettom Shinnom in Johnom Sloanom – ki so organizirali neodvisno razstavo kot neposreden protest proti omejevalni politiki National Academy of Design. Ta akt upora je bil prelomni trenutek v zgodovini ameriške umetnosti, ki je naznanil premik stran od evropske prevlade in k edinstvenemu ameriškemu umetniškemu glasu. Henrijeve slike iz tega obdobja, kot so “Ženska v manteau” (1899) in njegove sugestivne portrete, so ujeli dostojanstvo in odpornost navadnih ljudi ter ponudili močan nasprotje idealiziranim predstavam, ki jih je favoriziral vzpostavljeni sistem.
Robert Henrijev vpliv na naslednje generacije ameriških umetnikov je neprecenljiv. Kot učitelj je mentoriral izjemno paleto talentov, vključno z Josephom Stello, Edwardom Hopperjem, Rockwellom Kentom, Georgeom Bellowsom, Normanom Raebenom, Louisom D. Fancherjem in Stuartom Davisom – umetniki, ki bi oblikovali potek umetnosti 20. stoletja. Njegova knjiga *The Art Spirit*, objavljena posthumno leta 1923, ostaja temeljna besedila za ambiciozne umetnike, ponujajoč brezčasno modrost o opazovanju, tehniki in pomembnosti umetniške integritete. Henrijeva zavezanost prikazovanju življenja z iskrenostjo in sočutjem, zavračanje konvencij in njegovo trdno prepričanje v moč umetnosti za povezavo s publiko še naprej navdušujejo umetnike danes. Njegove slike niso le predstavitve resničnosti; so okna v človeško stanje – pričevanja o lepoti, boju in odpornosti človeškega duha. Pustil je neizbrisen pečat na ameriškem realizmu, utirajoč pot bolj demokratičnemu in inkluzivnemu umetniškemu svetu, ki slavi vsakdanje izkušnje navadnih ljudi. Njegova zapuščina vztraja ne le skozi njegova lastna mojstrovina dela, ampak tudi skozi neskončno število umetnikov, ki jih je navdihnil, da najdejo svoje glasove in povedo svoje zgodbe.
