![]() ![]() "The Eight," who espoused "art for life's sake," gravitated to New York at the beginning of the twentieth century, becoming embroiled in conflicts with the prevailing academic attitudes in painting, a struggle that coalesced in their famous exhibition at Macbeth Gallery in 1908. ![]() Their interaction - a merging of Henri's painterly technique with the keen observation and social focus of newspaper illustration - resulted in the artistic philosophy of this group. ![]() After three years of study in Europe, where he was impressed more by the work of Manet, Velázquez, and Hals than by late Impressionism, Henri returned to Philadelphia, where he met Sloan, William Glackens, George Luks, and Everett Shinn, all of whom were working as artist-reporters or illustrators at various Philadelphia newspapers. Their disavowal of traditional subject matter derived from history, literature, and mythology and their tendency to analyze nature objectively shaped Henri's own philosophy. Henri's approach to realism was influenced by his studies at the Pennsylvania Academy of the Fine Arts with Thomas Anshutz, a pupil and an assistant of Thomas Eakins who took over the latter's classes after he was dismissed. Among his students and disciples were many artists who came to maturity between 19, including George Bellows, Rockwell Kent, Eugene Speicher, Patrick Henry Bruce, Glenn Coleman, Morgan Russell, Stuart Davis, and John Sloan. Robert Henri was one of the most influential artists and teachers in twentieth-century American art. ![]()
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