Dancer in a Red Skirt, No. 2 c. 1912

Robert Henri's 'Dancer in a Red Skirt, No. 2' looks like it was made with watercolor and charcoal on paper, and it really gives you a sense of how line and color can capture movement. Henri’s process feels intuitive, like he’s trying to catch a fleeting moment. The thin washes of color, especially in the skirt, let the paper breathe, but then you have this dark, almost aggressive charcoal line defining the figure. It’s this contrast that gives the piece its energy. Take a look at the shadow behind the dancer; it’s not just a shadow but a bold, almost abstract shape that anchors her to the ground. It’s like Henri is saying, "I’m not just drawing a dancer, I’m drawing the space around her, the weight of her presence." Henri reminds me a bit of Degas, who was also obsessed with dancers, but Henri has a rawer, more immediate feel. It’s less about perfection and more about capturing the raw energy of the body in motion. For me, that's what makes it so compelling.