Henri's work was imbued with social awareness, and The Eight were, in general, especially attuned to the economic plight of urbanized society, with its influx of newly arrived immigrants struggling to survive. Although he painted a few street scenes and landscapes, it was in the closely observed, penetrating portraits of individuals that Henri excelled. One of his favorite models was his wife, whom he painted in the work shown here. Mrs. Henri, who posed for her husband often, was herself an artist, known for her graphic work and watercolors, which she exhibited under her maiden name, Marjorie Organ. The portrait demonstrates Henri's typical directness of presentation. His wife stands with one foot forward, one arm slightly extended, looking out of the canvas as if she were about to curtsy to the viewer. The elegance of her figure is emphasized by the verticality of the composition. There is nothing to look at but the subject, no interest in the background except as it serves to throw the figure into relief. Thanks to Henri's mastery of shorthand indications, the texture of the paint that represents the dress exactly simulates the material.
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