早年生活

罗伯特亨利出生罗伯特·亨利·科扎德在俄亥俄州辛辛那提到特里萨盖特伍德科扎德和约翰·杰克逊科扎德，一个赌徒和房地产开发商。亨利是画家的一位远房表亲玛丽·卡萨特。 1871年，亨利的父亲创立镇Cozaddale，俄亥俄州。1873年，全家搬到西到内布拉斯加州，在那里约翰·J·科扎德成立镇科扎德。

1882年十月，亨利的父亲与一位牧场主，阿尔弗雷德·皮尔森纠纷变得卷入，到牧场的家人声称土地上养牛的权利。当打开纠纷物理，科扎德出手致命皮尔森用手枪。科扎德最终被清除不道德的行为，但镇的情绪转而反对他。他逃到了科罗拉多州丹佛市，与家里的其他人随后不久之后。为了从丑闻撇清关系，家庭成员改变了他们的名字。父亲被称为理查·亨利·李，和他的儿子冒充名字弗兰克南部和罗伯特·厄尔·亨利（发音为“母鸡守望者”）下被领养的孩子。1883年，全家搬到了纽约市，然后到大西洋城，新泽西州，那里的年轻的艺术家完成了他的第一个作品。

教育

1886年，亨利·就读于美术的宾夕法尼亚学院在费城，在那里他师从托马斯Anshutz，门生托马斯Eakins，和托马斯Hovenden。1888年，他前往巴黎的学习Académie朱利安，他在那里学习的学术现实主义下的威廉·阿道夫·布格罗，来到深感佩服弗朗索瓦·米勒的工作，并接受了印象派。“他的欧洲的研究已经帮助亨利发展艺术，而天主教的口味。”他被获准进入巴黎美术学院。他参观了布列塔尼，在此期间和意大利。在1891年年底，他回到了费城，师承罗伯特·沃诺在宾夕法尼亚学院。1892年，他开始在教学设计学院费城妇女。“一个天生的老师，亨利喜欢在学校立即获得了成功。” 

工作

在费城，亨利就开始吸引了一批谁在他的工作室开会讨论艺术和文化，包括一些插画的追随者费城新闻谁将会成为被称为“费城四”：威廉Glackens，乔治陆氏，埃弗雷特希恩和约翰斯隆。他们称自己的木炭俱乐部。他们的聚会功能写生，喧闹的社交，阅读和讨论爱默生，惠特曼，左拉，亨利·大卫·梭罗，威廉·莫里斯·亨特，和乔治·穆尔。

垃圾桶学校

1895年，亨利已经到了重新考虑他早期印象派的热爱，称这是一个“新学院派”。他催促他的朋友和亲信创造一个新的，更加现实主义的艺术，将直接讲自己的时间和经验。他认为这是正确的时刻，美国画家寻求在现代美国城市新鲜，少教养的对象。亨利，斯隆，Glackens，陆氏，希恩和其他他们相识的那是由这种观点的启发画作最终被称为垃圾桶学校美国艺术的。他们摒弃学院派绘画和印象派仅仅作为表面的一门艺术。艺术评论家罗伯特·休斯宣称，“亨利希望艺术是类似的新闻，他想画是真实的，因为泥，为马屎和雪的土块，即对冻结百老汇在冬季，作为真正的人的产品汗水，承载着人类生命的unsurpressed闻“。垃圾桶画家开始引起公众的注意，在其中的现实主义小说的同一个十年斯蒂芬·克莱恩，德莱塞，和弗兰克·诺里斯是找到它的观众和扒粪的记者分别为呼吁关注贫民窟。

几年来，亨利划分了他的费城和巴黎，他在那里会见了加拿大艺术家之间的时间詹姆斯·威尔逊的摩利斯。摩利斯引进亨利绘画实践pochades微小木板，可以在一个大衣口袋里一起带进行刷油的小套件。这种方法方便了那种城市场景这将逐渐被他的成熟风格相关的自发描写。

1898年，亨利·琳达结婚Craige，从他的私人艺术类的学生。这对夫妻花了在未来两年在法国处于热恋，在这期间，亨利准备画布递交给沙龙。1899年，他表现出“女人的披风”和拉Neige酒店（以下简称“雪”），这是法国政府在购买显示器卢森堡博物馆。他开始在教学艺术的纽约学院在1902年，他的学生包括约瑟夫·斯特拉，爱德华·霍珀，罗克韦尔肯特，乔治波纹管，诺曼Raeben，路易斯·凡彻，和斯图尔特·戴维斯。在1905年，琳达，长期身体不好，死亡三年后，亨利再婚; 他的新妻子，马乔器官，是一个22岁的漫画家为纽约杂志。（亨利·1911年肖像马乔里的化妆舞会服饰，是他最著名的画作之一，并永久收藏挂起艺术的大都会博物馆）。

在1906年，亨利当选为国家设计学院，但是当他的圈子里的画家被拒绝为该学院1907年展览，他指责偏见的陪审员同胞和走了陪审团，解决组织了自己的表演。他以后会是指学院为“艺术的墓地。”

八

1908年，亨利是一个里程碑式的题为主办方之一的“八大”的麦克白画廊在纽约（八画家展示自己的作品后）。除了自己的作品和那些由“费城四”（谁这个时候跟着亨利·纽约）生产的，其他的三位艺术家谁在一个不同的，不太现实风格的画- 莫里斯·普伦德加斯特，欧内斯特·劳森和亚瑟B.戴维斯 -were包括在内。本次展览的目的是作为对展览的政策和的味道狭隘的抗议设计的美国国家科学院。该节目后来前往多个城市从纽瓦克到芝加哥，在记者对有关学术艺术和对绘画接受标的物的新思路起义促使进一步的讨论。

亨利是，由这点，在谁的最严峻和最旺盛的主张城市生活的描绘组的心脏。保守的口味都一定是侮辱。关于亨利的莎乐美的1909年，评论家休斯指出：“她的长腿撵出通过过刷回面纱昂首阔步性的傲慢和闪闪发光它比几百个处女，温雅沉吟道，由美国学者画的更加魅力他。给它的紧迫性与削减刷痕和强大的色调对比，他从中学到温斯洛荷马，从马奈，并从粗俗法兰斯哈尔斯。“

1910年，约翰·斯隆和帮助沃尔特·库恩，亨利举办的独立艺术家展，第一nonjuried，没有得奖的展示在美国，这是他仿照独立沙龙在法国。作品被挂字母来强调一个平等的理念。本次展会是非常踊跃参加，但导致销量很少。亨利·斯隆，在垃圾桶现实主义信徒两者之间的关系，在这个时候密切和富有成效的; 库恩将起到1913年关键作用军械库展。传记作家威廉·英尼斯荷马写：“亨利要强调的是艺术[如表现在独立艺术家的展]，他的一切国家科学院主张的反驳自由和独立，让他的军械库展的思想父” 

军械库展，美国首个大规模引进欧洲现代主义，是亨利的混合体验。他展出五画，但是，作为一个代表性的艺术家，他自然明白，立体派，野兽派和未来主义隐含了挑战，他的照片，制作的风格。事实上，他已经引起担心。一个男人，还没有五，谁看到自己在先锋即将被降级到一个保守的日子已经过去了的位置。亚瑟B.戴维斯，展会的组织者和的八大成员，特别轻蔑亨利的关注，新的欧洲艺术会掩盖美国艺术家的作品。在另一方面，一些亨利学者坚持认为，声誉亨利在以后的历史赢得了作为军械库展现代主义和一般是不公平的一个对手，大大夸大了他的反对意见。他们指出，他产生了浓厚的兴趣在新的艺术，并建议他的学生利用这些机会来研究它。艺术史学家萨拉Vure指出，“[AS]早在1910年，亨利·劝学生以后参加由亨利·马蒂斯，两年作品展，他敦促他们看到马克斯·韦伯，美国现代人的最前卫的一个工作。“ 他敦促画家查尔斯Sheeler参观现代艺术在宾夕法尼亚州的阿尔伯特·巴恩斯C.收集。

从来没有一个政治上保守，亨利钦佩无政府主义者和地球母亲出版商艾玛高盛，并在1911年从教现代学校。高盛，谁后来被亨利坐了肖像，形容他“在他的艺术概念与生活一个无政府主义者。” 

爱尔兰和圣达菲

亨利数次前往爱尔兰西海岸，租Corrymore房子附近Dooagh，在阿基尔岛的一个小村庄，1913年为接下来的几年，他能画出Dooagh的子女每年春，夏。儿童亨利的肖像，今天看作是他工作的身体最伤感的方面，在当时受欢迎，卖得很好。1924年，他购买的房子Corrymore。期间1916年，1917年到1922夏天，亨利去了圣达菲，新墨西哥州作画。他发现，语言环境励志爱尔兰的乡村已分。他成为圣达菲艺术界的重要人物，并说服了导演州艺术博物馆采取门户开放政策的展览。1918年他当选为美术家协会陶斯的准成员。

死亡和埋葬

在参观了他在爱尔兰的夏家1928年11月后，前往美国，罗伯特·亨利遭受神经炎的攻击，削弱了他的腿。（根本原因是转移性前列腺癌。）他在住院圣 卢克的医院在纽约。渐渐地，他逐渐变弱，直到他死于心脏骤停月初7月12日上午，1929年他的病没有得到普遍众所周知，来到作为文艺界一个惊喜。在他的死亡，艺术家和学生尤金·斯派克称“他不仅是一个伟大的画家，但是...我不认为它过分称他在这个国家独立的绘画之父”。在他的死亡，据报道，他被火化，他的骨灰埋在费城家族的墓地里。

影响和遗产

从1915年到1927年，亨利是在一个流行和有影响力的老师纽约艺术学生联盟。“他给他的学生，不是一种风格（尽管有些模仿他），而是一种态度，一种方法，[艺术]。”他还经常演讲有关哈迪斯蒂马拉塔，德纳姆金都罗斯，和Jay Hambidge的理论^[31] （亨利的这些人，他们的想法是在当时的风尚，但不被重视之后的兴趣，已被证明是“的[亨利]的教学方法最容易被误解的方面”。）马拉塔和罗斯分别色理论家（马拉塔制造自己的人工合成色素的系统），而Hambidge是一个精心制作的论文，笔者动态对称性，即主张对组成了科学依据。亨利的哲学和实用的沉思被前学生马哲瑞尔森结集出版的艺术精神（1923年），一本书，留在打印了几十年。亨利的其他学生包括乔治波纹管，阿诺德·弗朗茨Brasz，斯图尔特·戴维斯，爱德华·霍珀，罗克韦尔肯特，亨利·艾夫斯科布，小，莉莲棉和康夫国芳。

意义和亨利作为一名教师和导师，女性艺术家经常形成影响，承认美国妇女现代派：罗伯特·亨利的遗产（2005年）。亨利的女学生的男性垃圾桶学校同时代的工作相比，马里昂沃德尔断言：“他们的实验在许多媒体的审查亮起亨利的现代主义理想更广泛应用。......亨利的女学生显著促进了美国的结构现代主义。他们制作了大量的工作机构，广泛展出，赢得了各大艺术奖项，属于和管理艺术团体，并在美国教艺术类的。“ 

1929年春天，亨利被任命为纽约艺术委员会前三名生活的美国艺术家之一。亨利那年夏天死于癌症在64岁。他被同事和以前的学生传颂，并在一个纪念展的七八画荣获大都会艺术博物馆。福布斯沃森的编辑艺术的杂志中写道，“亨利，从他非凡的个人魅力很一旁，是一个划时代的人在美国艺术的发展。”

贴合，其中亨利最持久的作品是他的他的同胞画家的肖像。他1904年乔治·陆氏全长肖像和他的1904肖像约翰·斯隆（艺术科科伦画廊在华盛顿特区的集合）（加拿大渥太华国家美术馆的收藏），例如，展品全部他的风格的经典元素：有力的笔触，激烈（如黑）颜色效果，个性招魂（他和保姆的），和慷慨的精神。

Early life

Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio to Theresa Gatewood Cozad and John Jackson Cozad, a gambler and real estate developer. Henri was a distant cousin of the painterMary Cassatt.In 1871, Henri's father founded the town of Cozaddale, Ohio. In 1873, the family moved west to Nebraska, where John J. Cozad founded the town of Cozad

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 town turned against him. He fled to Denver, Colorado, and the rest of the family followed shortly afterwards. In order to disassociate themselves from the scandal, family members changed their names. The father became known as Richard Henry Lee, and his sons posed as adopted children under the names Frank Southern and Robert Earl Henri (pronounced "hen rye"). In 1883, the family moved to New York City, then to Atlantic City, New Jersey, where the young artist completed his first paintings.

Education

In 1886, Henri enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia, where he studied under Thomas Anshutz, a protege ofThomas Eakins, and Thomas Hovenden. In 1888, he traveled to Paris to study at the Académie Julian,^[7] where he studied under the academic realist William-Adolphe Bouguereau, came to admire greatly the work of Francois Millet, and embraced Impressionism. "His European study had helped Henri develop rather catholic tastes in art." He was admitted into the École des Beaux Arts. He visited Brittany and Italy during this period. At the end of 1891, he returned to Philadelphia, studying under Robert Vonnoh at the Pennsylvania Academy. In 1892, he began teaching at the Philadelphia School of Design for Women. "A born teacher, Henry enjoyed immediate success at the school."

Work

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 Philadelphia Press who would become known as the "Philadelphia Four": William Glackens, George Luks, Everett Shinn, and John Sloan. They called themselves the Charcoal Club. Their gatherings featured life drawing, raucous socializing, and readings and discussions of Ralph Waldo Emerson, Walt Whitman, Émile Zola, Henry David Thoreau, William Morris Hunt, and George Moore.

Ashcan School

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 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 Ashcan School of American art. They spurned academic painting and Impressionism as an art of mere surfaces. Art critic Robert Hughes 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 Broadway in the winter, as real a human product as sweat, carrying the unsurpressed smell of human life."^[10] Ashcan painters began to attract public attention in the same decade in which the realist fiction of Stephen Crane, Theodore Dreiser, and Frank Norris was finding its audience and the muckraking journalists were calling attention to slum conditions.

For several years, Henri divided his time between Philadelphia and Paris, where he met the Canadian artist James Wilson Morrice.Morrice introduced Henri to the practice of painting pochades 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.

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 La Neige ("The Snow"), which was purchased by the French government for display in the Musée du Luxembourg. He began teaching at the New York School of Art in 1902, where his students included Joseph Stella, Edward Hopper, Rockwell Kent, George Bellows, Norman Raeben, Louis D. Fancher, andStuart Davis. In 1905, Linda, long in poor health, died. Three years later, Henri remarried; his new wife, Marjorie Organ, was a twenty-two-year-old cartoonist for the New York Journal. (Henri's 1911 portrait of Marjorie, The Masquerade Dress, is one of his most famous paintings and hangs in the permanent collection of the Metropolitan Museum of Art.)

In 1906, Henri was elected to the National Academy of Design, 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."

The Eight

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 artists who painted in a different, less realistic style -- Maurice Prendergast, Ernest Lawson, and Arthur B. Davies—were included. The exhibition was intended as a protest against the exhibition policies and narrowness of taste of the National Academy of Design. The show later traveled to several 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.

Henri was, by this point, at the heart of the group who argued for the depiction of urban life at its toughest and most exuberant. Conservative tastes were necessarily affronted. About Henri's Salome of 1909, critic Hughes observed: "Her long legs thrust out with strutting sexual arrogance and glint through the over-brushed back veil. It has far more oomph than hundreds of virginal, genteel muses, painted by American academics. He has given it urgency with slashing brush marks and strong tonal contrasts. He's learned from Winslow Homer, fromÉdouard Manet, and from the vulgarity of Frans Hals".

In 1910, with the help of John Sloan and Walt Kuhn, Henri organized the Exhibition of Independent Artists, the first nonjuried, no-prize show in the U.S., which he modeled after the Salon des Indépendants in France. Works were hung alphabetically to emphasize an egalitarian philosophy. The exhibition was very well-attended but resulted in few sales.^[17] 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 1913 Armory Show. Biographer William Innes Homer writes: "Henri's emphasis on freedom and independence in art [as demonstrated in the Exhibition of Independent Artists], his rebuttal of everything the National Academy stood for, makes him the ideological father of the Armory Show."

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, 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.Art historian Sarah Vure notes that "[as] 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." He urged painter Charles Sheeler to visit the Albert C. Barnes collection of modern art in Pennsylvania.1911 at the Modern School. Goldman, who later sat for a portrait by Henri, described him as "an anarchist in his conception of art and its relation to life."

Ireland and Santa Fe

Henri made several trips to Ireland's western coast and rented Corrymore House near Dooagh, 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 state art museum to adopt an open-door exhibition policy. In 1918 he was elected as an associate member of the Taos Society of Artists.

Death and burial

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 St. Luke's Hospital 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 Eugene Speicher 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

Influence and legacy

From 1915 to 1927, Henri was a popular and influential teacher at the Art Students League of New York. "He gave his students, not a style (though some imitated him), but an attitude, an approach, [to art]."^[30] He also lectured frequently about the theories of Hardesty Maratta, Denham Waldo Ross, and Jay Hambidge^[31] (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 [Henri's] pedagogy.")^[32] Maratta and Ross were color theorists (Maratta manufactured his own system of synthetic pigments), while Hambidge was the author of an elaborate treatise, Dynamic Symmetry, that argued for a scientific basis for composition. Henri's philosophical and practical musings were collected by former pupil Margery Ryerson and published as The Art Spirit (1923), a book that remained in print for several decades. Henri's other students include George Bellows, Arnold Franz Brasz, Stuart Davis, Edward Hopper, Rockwell Kent, Henry Ives Cobb, Jr., Lillian Cotton,^[33] and Yasuo Kuniyoshi.

The significance and often formative influence of Henri as a teacher and mentor to women artists was acknowledged in American Women Modernists: The Legacy of Robert Henri (2005). Comparing the work of Henri's female students to their male Ashcan School contemporaries, Marion Wardle asserts, "An examination of their experiments in many media illuminates a much broader application of Henri's modernist ideals. ...Henri's women students contributed significantly to the structure of American modernism. They produced a large body of work, exhibited widely, won major art awards, belonged to and administered arts organizations, and taught art classes across America."

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 at the Metropolitan Museum of Art. Forbes Watson, editor of The Arts magazine wrote, "Henri, quite aside from his extraordinary personal charm, was an epoch-making man in the development of American art."

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 National Gallery of Canada in Ottawa) and his 1904 portrait of John Sloan (in the collection of the Corcoran Gallery of Art in Washington, D.C), 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.