Leunkin Bay, June 1903

Robert Henri painted Leunkin Bay, June, with oil on board, using strokes that feel quick and considered. The color palette is muted, almost monochromatic, built from different shades of green, which for me highlights the real subject of the piece: Henri's ongoing engagement with the possibilities of paint. You can see how the paint is applied thinly, in horizontal bands, almost like the landscape is built up from strata of sediment. The brushwork is really evident. You can almost see him dragging the brush, the slight inconsistencies of the stroke suggesting a surface alive with atmosphere, full of movement. There is something so simple about how these strokes catch the light, creating a reflective, immersive sense of place. Artists like Fairfield Porter, who shared Henri's interest in light and place, come to mind. To me, this work celebrates the idea that art doesn't necessarily hold any fixed meaning, but rather embraces infinite interpretations and possibilities.