Sarah Burns. American Women Modernists: The Legacy of Robert Henri, 1910-1945. New Bunswick, N.J.: Rutgers University Press, 2005. xii + 274 pp. $34.95, paper, ISBN 978-0-8135-3684-2.

Reviewed by Valerie Ann Leeds

Published on H-Urban (May, 2006)

American Women Modernists: The Legacy of which serves as an introduction and overview of Robert Henri, 1910-1945 is a publication that high‐ the project. Sarah Burns's essay examines the lights the work of women artists taught by the Henri students whose creative pursuits led to noted American painter and teacher, Robert Hen‐ work in design and the decorative arts. Helen ri. Though principally a portraitist, Henri is popu‐ Langa focuses on some women printmakers and larly associated with the Ashcan School, a group their artistic innovations. Betsy Fahlman exam‐ of artists who were often identifed with depicting ines art education in this period and the difer‐ urban subject matter in a realistic vein. In truth, ences in opportunities and success of women however, urban subjects represented only a small artists as compared to their male counterparts. portion of the oeuvres of these artists. Neither did Erika Doss explores how the social pressures of many of Henri's female students choose to depict their day afected art made by the female artists. the city, though most were educated in New York Gwendolyn Owens investigates the state of the art City and some remained there. Still, they were en‐ market and the discrimination against female ex‐ couraged to paint their surroundings. This vol‐ hibitors during the early twentieth century and its ume, produced in conjunction with an exhibition impact on the reputation and careers of female organized by the Brigham Young University Muse‐ artists. In the fnal chapter, Lois Rudnick explores um, includes seven essays by authors whose spe‐ the general social and cultural environment of the cialties include art history, American studies, and early twentieth century and its infuence on the cultural studies, each introducing diferent as‐ choices made by women; this contribution has lit‐ pects of the contexts in which Henri's female stu‐ tle direct reference to the art or artists covered in dents lived and worked. the other essays, but adds to the contextual under‐ Marian Wardle, the exhibition's curator, au‐ standing of this era. Her essay also addresses the thored the opening essay, "Thoroughly Modern: notion of modernism, redefning its meaning to The 'New Women' Art Students of Robert Henri," extend beyond stylistic concerns and include pro‐ gressive and forward thinking. The essays are fol‐ H-Net Reviews lowed by a major section of over four hundred bi‐ gender. Yet, many of these women studied only ographical sketches of women who have been briefy with him, and only a few primary sources identifed as Henri students, compiled by are cited by the authors that attest to his direct in‐ Stephanie Andrews McNary. This last section rep‐ fuence. In addition, Henri's widely available pub‐ resents the single most important contribution of lication, The Art Spirit, outlines many of the this publication and will be an important refer‐ specifcs he taught in his classes and attests to his ence tool. steadfast roots in the realist camp, in his teach‐ The book is a valuable resource that covers ings, as well as in his own art. His ideas about re‐ much uncharted terrain and introduces a wealth alism and painting from life were published wide‐ of new material. Among the strongest essays are ly and would have been accessible even to people those on the women printmakers and women in who were not his students.[1] design, craft, and the decorative arts. Beyond This efort contains other lapses, such as im‐ these individual texts that contribute to a growing portant omissions in the bibliography of sources body of literature, the publication as a whole suf‐ specifcally relating to Henri and, in several of the fers from a lack of focus. Another problematic as‐ essays, important facts about Henri's life and ca‐ pect of this endeavor is the overall quality of reer are misrepresented or missing, such as his works reproduced; with some exceptions, few im‐ friendships with students, the organization of ex‐ ages selected for reproduction meet the level of hibitions, his trips abroad, and the degree of his quality and originality demonstrated by male con‐ involvement with the Armory Show. Had addi‐ temporaries. Although there may be practical rea‐ tional sources been more carefully consulted this sons that could explain the choice of lackluster ex‐ might have provided the authors as well as read‐ amples, the result of presenting so many weak im‐ ers with a more in-depth portrait of Henri as a ages is that the reader comes away with the im‐ teacher and friend, and given us a more nuanced pression that these women's importance has more understanding of this important fgure's practice, to do with their gender than with their artistic teaching, and philosophies. Extant correspon‐ abilities. Admittedly women's exhibition and ca‐ dence between Henri and several of his female reer opportunities were more restricted than students who became his close friends, such as those of men, but the question of why there was Helen Niles, Alice Klauber, and Margery Ryerson, not more exceptional work produced by Henri's are listed as sources, but seem not to have been female students (if that indeed is the case) war‐ consulted by the authors. rants further inquiry. Of the over four hundred fe‐ Since this book makes much of Henri's rela‐ male students who studied with Henri, the essays tionship with his female students, it would seem and reproductions examine less than 10 percent logical that his relationship to male students of the identifed artists, with no explanation about would also merit close scrutiny for comparison's the choice of those artists highlighted, so it is dif‐ sake. No mention is made of the extensive existing cult to make any real assessment. correspondence between Henri and George Bel‐ To this writer, the case made for Henri's sin‐ lows and Henri and John Sloan, which could have gular infuence on his female pupils is unconvinc‐ provided the contrast. ing. Admittedly, Henri was known to have given Throughout the essays broad assumptions great encouragement to all his students, both about the social limitations of women are made. male and female, and he advocated freedom of For example, in Fahlman's essay about art educa‐ expression and exhibition opportunities for all tion, she notes that it was not appropriate for fe‐ artists, seemingly with little overt regard for their male students to be friends with a male instruc‐

2 H-Net Reviews tor. As the new century matured, however, stric‐ Making, the Study of Art Generally, and On Appre‐ tures on women's behavior loosened and Henri ciation, compiled by Margery Ryerson (Philadel‐ was indeed very close friends with a number of phia: J. B. Lippincott, 1923). female students and in fact led trips abroad, most‐ ly populated by his female students, as outlined in the biography section of the text. Also much is made of the fact that women artists gave up ca‐ reers, often for their husbands or families; this was widely accepted as the social norm of the day, but was by no means mandated. There were fe‐ male artists who rebelled against these conven‐ tions when they were ambitious and driven enough or when their personal circumstances ei‐ ther permitted or required them to do so, as did women in other professions. The essays in American Women Modernists contribute to our understanding of the many ob‐ stacles that still faced women in the early twenti‐ eth century and also outline the progress, innova‐ tions, and successes that women artists were nonetheless able to achieve. Unfortunately, there is not enough besides the "modern woman," fe‐ male students studying with Robert Henri, and the discrimination they sufered, to link these dis‐ parate essays. Henri's legacy seems to be only a tangential theme in some of the essays and the portrait of him in the text is a thin specter of the lively and charismatic personality that is so clear‐ ly evident in his extensive writings. Since this publication was produced in conjunction with an exhibition, it is therefore most surprising that there is no catalogue of works in the exhibition. Despite these criticisms, American Women Mod‐ ernists: The Legacy of Robert Henri and the iden‐ tifcation 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. Note [1]. Robert Henri, The Art Spirit: Notes, Arti‐ cles, Fragments of Letters and Talks to Students, Bearing on the Concept and Technique of Picture

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Citation: Valerie Ann Leeds. Review of Burns, Sarah. American Women Modernists: The Legacy of Robert Henri, 1910-1945. H-Urban, H-Net Reviews. May, 2006.

URL: https://www.h-net.org/reviews/showrev.php?id=11721

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