Betalo (The Dancer) 1910

Robert Henri made "Betalo (The Dancer)" with paint, and probably with feeling too. Look at how Henri builds up the figure in strokes, like he’s carving light from the darkness. The strokes are confident, direct, it's clear that for him, painting was a process of discovery. Henri's layering of tones creates a sense of depth, doesn't it? See how the brushstrokes around her shoulders are loose and expressive, almost dissolving into the dark background. It's like he's saying, “Here’s a person, but they’re also part of something bigger.” The ochre of the shawl sings against the darkness, making the colours glow. It’s got something of Manet about it, especially those dark backgrounds that make the figure pop. But Henri has a particular energy. It's like he wants to capture the aliveness of a moment, rather than just painting a pretty picture.