Seldom recognized, yet contributing significantly to the structure of early American modernism is a group of women who were once the art students of the popular and perhaps most influential American art teacher of the twentieth century, Robert Henri (1865-1929). Henri encouraged an art that was expressive of personal emotions and experience and that was grounded in life. He preached equality among different media and approaches to art. Giving heed to his teachings, his women students engaged in a wide variety of artistic production. Collectively, the stunning variety and power of their work in painting, sculpture, printmaking, textiles, decorative arts, and furniture broadens our understanding of American modernism and illuminates the role of women artists in shaping it. Yet, these women have remained largely unstudied, and virtually unknown, even among art historians.
The seven new essays included in this volume move beyond the famed Ashcan School-the small group of Henri's male students who worked in a narrow range of urban realist subjects-to recover the lesser known work of his women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era; how gender controlled their art, productivity, sales, and reception; how their many styles, media, and subjects enrich our understanding of modern American art; and how the work of modern women artists relates to women's involvement in other areas of modern American society and culture, including labor and social reform, patronage, literature, dance, and music.
Lavishly illustrated and complemented by short biographies of more than 400 of Henri's students, this delightful collection adds a long-ignored but deserving dimension to an expanded story of American modernism and to women's contributions to the arts.
Author Marian Wardle
Author Marian Wardle. Rutgers University Press, 2005. Robert Henri (1865–1929), painter and teacher, left a legacy of adventurous individualism. Through a series of seven essays and expansive illustrations, American Women Modernists illuminates the social and artistic challenges these pioneering women faced in a male-dominated art world and explains how the artists influenced modernism's evolution.
Aptly subtitled 'The Legacy of Robert Henri, 1910 - 1945' this collection of works by women artists reflects the emphasis of the great teacher on the modernist perceptions of his pupils. The names of the artists sadly are not household names, but after reading and viewing this fine book it is embarassing to admit that fact.
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In this book, Marian Wardle and six other female scholars set out to broaden the modern art parameters and reinsert some two hundred professional women artists into the picture.
Robert Henri (1865-1929) was an American painter and teacher, a leading figure of the Ashcan School of American Realism. The group he founded that came to be known as "The Eight" waged war against the restrictive, conservative National Academy of Design
Robert Henri (1865-1929) was an American painter and teacher, a leading figure of the Ashcan School of American Realism. The group he founded that came to be known as "The Eight" waged war against the restrictive, conservative National Academy of Design. AS IS! Please see photos. International first class shipping includes a handling charge to cover insurance.
Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio to Theresa Gatewood Cozad and John Jackson Cozad, a. .Wardle, Marian, ed. (2005). American Women Modernists: The Legacy of Robert Henri, 1910–1945. Rutgers University Press.
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 painter Mary Cassatt. In 1871, Henri's father founded the town of Cozaddale, Ohio .
The Modern Woman Artist and the Female Art Students of Robert Henri . Since this book makes much of Henri's relationship with his female students, it would seem logical that his relationship to male students would also merit close scrutiny for comparison's sake. Despite these criticisms, American Women Modernists: The Legacy of Robert Henri and the identification of over four hundred female students, many of whom became professional artists, is a testament to Henri's contributions as an inspiring educator and raises some interesting points upon which future scholarship can rest.
American modernist art has been defined for decades by a narrow range of works by almost entirely male New York-based artists in the circles of Alfred Stieglitz and Walter Arensberg. Typically, Georgia O'Keeffe is the solitary acknowledged exception to these male-dominated modernist circles.
the legacy of Robert Henri, 1910-1945. Published 2005 by Brigham Young University Museum of Art, Rutgers University Press in, New Brunswick, NJ.
Body & Soul: The Making of American Modernism. Robert Morse Crunden. N 6490 M6 C78. The Ebsworth Collection: American Modernism, 1911-1947.
Provo: Brigham Young University, 2005. Art Since 1940: Strategies of Being. Jonathan David Fineberg. Boston: Prentice Hall, 2011. Body & Soul: The Making of American Modernism. New York: Basic Books, 1999.