La Madrileñita

Description

Robert Henri dedicated his career to painting portraits of those he called “my people,” namely, sitters who evoked a personal response in the artist. He found many appealing subjects while traveling in Spain, including matadors and picadors, gypsies, dressmakers, and performers. Henri admired the subject of La Madrileñita, a 15-year-old dancer named Josefa Cruz, for her talent and traditional training, as he later recalled: “Although very young she was already a very remarkable dancer at the time the painting was done, and it seemed to me that she had in her carriage . . . much of the spirit and dignity of old Spain.” Henri painted six
portraits of Cruz; in this version, completed over the course of two days, she turns her head to look over her shoulder, directly engaging the viewer in a poised and assured manner. Her enigmatic smile bears a sense of mystery that is heightened by the darkness beyond.

Provenance

The artist; to the estate of the artist, from 1929 until at least 1976 [with Chapellier Galleries, Inc., New York, from 1964]; to private collection, Winter Park, FL; sold at Christie’s New York, December 4, 1997, lot 68, to Barbara S. Danielson; bequeathed to the Art Institute of Chicago, 2014.

La Madrileñita

Robert Henri

1910

Accession Number

223736

Medium

Oil on canvas

Dimensions

58.4 × 48.3 cm (23 × 19 in.)

Classification

oil on canvas

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Bequest of Barbara S. Danielson

Background & Context

Background Story

"La Madrileñita" is a 1910 oil on canvas by Robert Henri that captures the American Ashcan School painter at his most coloristically bold, the portrait of a Spanish woman demonstrating the influence of Henri's travels in Europe and his study of Spanish painting from Velázquez to Goya. The composition shows a young woman—probably a model or a performer—rendered with the broad, confident brushwork and high-keyed palette that Henri had developed as a teacher and that he passed on to his students, the generation of American realists that included Bellows, Sloan, and Glackens. The title, which translates roughly as "the little Madrilenian," suggests both affection and exoticism, the Spanish subject offering Henri an opportunity to escape the grey-brown palette of New York urbanism into the warmer, more saturated colors of Mediterranean culture. The 1910 date places this work in the period of Henri's most intensive portraiture, when he was producing the series of "types"—Irish peasants, Dutch fishermen, Spanish dancers—that demonstrated his commitment to representing the full diversity of human character. Art historians have compared this painting to the Spanish subjects of John Singer Sargent and the orientalizing portraits of the nineteenth century, noting that Henri's treatment is more direct, less aristocratically refined than these predecessors, the model presented as a person rather than a type. The work also demonstrates Henri's influence on the development of American modernism: his emphasis on bold color, loose brushwork, and the representation of contemporary life provided a model for the artists who would move beyond realism toward Expressionism and abstraction.

Cultural Impact

This 1910 oil canvas escaped New York grey-brown urbanism into Mediterranean warmth, using broad high-keyed Spanish brushwork to make Madrilenian portrait feel democratically direct rather than aristocratically exotic.

Why It Matters

It matters because Henri painted a Spanish woman and made her look like she owned the room—proving that even a foreign face could feel like family if the color was bold enough.