by Artist (70)
Robert Henri
American, 1865–1929
"Young Chevass" is a late work created during a summer visit to Achill Island, Ireland in 1925. The subject of the painting, Mary Ann Cafferty, was one of Henri's favorite models, and he painted her a number of times. The origin of the name "Young Chevass" in the painting's title is unknown, though it appears to have been a family nickname for Mary Ann. The painting is representative of Henri's Irish portraits in its emphasis on the character of the model, use of a dark palette with bright accent colors, and use of abstract background elements. Also typical of his Irish portraits is the choice of a child as subject. One commentator has suggested that his repeated use of the same subjects in these later works freed him to explore formal problems.
American Paintings from the Montgomery Museum of Fine Arts, 2006, cat. no. 44, p. 120.
American, 1865–1929
Young Chevass (Mary Ann Cafferty)
1925
Object Type:
Painting
Creation Place:
North America, American
Dimensions:
24 1/4 in. x 20 1/8 in. (61.6 cm x 51.12 cm)
Medium and Support:
Oil on canvas
Accession Number:
1961.0030
Credit Line:
Montgomery Museum of Fine Arts Association Purchase
Currently On View
"Young Chevass" is a late work created during a summer visit to Achill Island, Ireland in 1925. The subject of the painting, Mary Ann Cafferty, was one of Henri's favorite models, and he painted her a number of times. The origin of the name "Young Chevass" in the painting's title is unknown, though it appears to have been a family nickname for Mary Ann. The painting is representative of Henri's Irish portraits in its emphasis on the character of the model, use of a dark palette with bright accent colors, and use of abstract background elements. Also typical of his Irish portraits is the choice of a child as subject. One commentator has suggested that his repeated use of the same subjects in these later works freed him to explore formal problems.
American Paintings from the Montgomery Museum of Fine Arts, 2006, cat. no. 44, p. 120.
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