The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-12-31
PICTURES BY ROBERr HENRI.

In the Art Gallery OF the Pratt Institute.
Brooklyn. The number and variety of the
pictures. many of which have not been
seen in public hitherto, allow good oppor-
tunity OF studying the characteristics OF
this very interesting painter.
For painter he Ii in the strict sense Of
that loosely used term. Not that he limits
himself to the painters problem or makes
no other than a technical claim upon our
interest; but because In the onoeption and
working out Of his subject he Is primarily
Influenced by the painters point of view
IL Is through the visual sense that the sub
ject appeals to him first and that ne passes
on its appeal to us. Internationally it
arouses In him some very human emotion
as we'll as purely artistic ones; but one
may be pretty sure that those appear to
him TO he Of only secondary Importance
and quite certain that he limits their ex-
preston to means which are distinctly
and separately those OF the painter. When
we note that In addition to this the tendency
of his mind is toward sanity breadth and
directness, qualities which In his case in
clude very subtle penetration, We are
approaching a real z ition Of the character
81 his work. It IL never cluttered up with
trivialities, but is ,irile end straightforward;
and one feels that underlying this vigorous
personality Is n very sensitive nature.
Until he returned home some time ago
MIR. Henri had lived and studied many
years abroad, particularly in Paris, Italy
and Spain. II one should try and deduce
from his style Of work The influences under
which ne has mos, visbly come-a process
that perhaps after all ia not Of much value
one might hazard the conclusion that
Velasquez has supplied the prime motive,
though it has been very strongly moulded
blythe French interpreted ion Of that masters
manner. Such statement should be backt d
up with a reason and 1t Is rather difficult
to give one: though. believe that any one
carefully studying these pictures will be
conscious Of lack of the suave sobriety,
|. the court liness Of manner. that disting cuisines
the great Spaniard. AMI find in place of
It that nervous feeling OF Inodernity, eager
In its analysis, that often clothes its ex-
treme subtlety In an outward show Of
Drusqueness
In the present exhibition we can hardly
fail to receive certain impression of
brusqueness; there IL a peremptoriness Of
manner both In the figure subjects and
the landscapes. Yet It cannot be dismsset'
rs either careless or crude; 1t Is tho result Il
originality Of impulse seeking it's most
direct expression, Of vigorous nature
releasing itself naturally. 1t is also due
TO the unity and simplicity OF purpose,
the strong realization of character in the
figure or the landscape, and to the strict
exclusion Of everything except what will
enforce the sing leness OF the motive. These
are virtues Of prime worth. but that they
are not Incompatible with a suave grandeur.
and with more complete fnalty Of ex-
preston is evident from Whister's D )rtrait
of his m ,ther. Here the inGu snces revealed
are such az Mr.. Henri has experienced;
there appears, too. the interplay OF the
big feeling and the tender one; breadth
and subtlety; but how correlated are all
these qualities into one grand expression
Of composIre! 1t If just this final summary
of conception and execution that Mr..
Henri's well-wishers hope to see eventually
represented in his own work.
Among the pictures exhibited here il a
series Of fu l.sized standing figures Of wo-
men, OF these The Red Kimono" would ar
pear 10 be almost, If not quite exclusively
a study Of tone, a dull red jacket, sprnkled
with a foweTy pattern, and having the
black gown, tho whole figure submerged
in va m, drowsy half-lig ht. that lends the
charm OF mystery. The Figure Of a Girl =
however, is shown in clear. cool light,
III the sharper contr ,st Of black skirt and
white bodice. The latter is Of silk. thin
enough to reveal the glow Of flesh upon the
neck ard arms. This part is painted with
delightful delicacy and joins with the sweet
grace of the pose and the fresh purity OF
the face in an ensemble that is unusually
bcwitchinr. A somewhat similar allure
mont Of mt 81 neIvcte rearpears In the
Portrait Of n Young Woman which like
the other has a very sensitive beauty Of ex-
preston in the movement of the body and
the gesture Of the arm. The arm, again
is made exceedingly expressive In the -Ac-
tres-." though II simply hangs down but
its lines are fine, and the flesh tips while
not exactly beautiful. are remarkably true
10 life. And 1t is thi, truth which is respoI-
sih'c for the flesh th's being less than beau
tirul, since they are affected by the OK
tremely delicate pink of the gown
This would seem To represent an example
Of how Mr.. Henri does not hesitate to ad-
Just the parts Of his picture, even at some
Individual sacrifice, in order to secure a
general truth; an illustration one may
note, OF the painter quality Of his mind
We have slid into observing the character
which he introduces into arms and ands,
and may accordingly note in "The Wen
nese' how they contribute to the didbieric
Of the whole picture. Nor shall we find
them less expressive in the woman In the
Nlanteau," where the hands snatch to-
gnther the folds OF black cloak trimmed
with gray Cur. leaving bare an expanso Of
neck over which the face cranes with tho
quick look Of a person surprised 1t is not
a beautiful face, but one Of weird fascina-
ton, which is prolonged by the admirable
painting Of all the draperies. particularly
Of wisp Of lace, brown and softly glitter
ing like a moth, The relation Of this bit
Of color to the general scheme Of the
canvas Is more than happy; it Is a touch
Of genius.
or the two portraits one may prefer the
genia! shrewdness Of the MIR. IIuks;" for
the Portrait of Mrs, f. Taylor" while it
Is probably a clever likeness, has In marked
degree the peremptoriness Of manner and
is scarcely a gracious picture.
Any detailed reference TO the landscapes
may he omitted Oh this occasion because