Mary Patton is a brilliant example of Henri’s Irish portraits. Henri delicately balances the sitter's youthful innocence with a keen awareness. The girl’s wide opened gaze confronts the viewer without guile, a look that evinces something of the authentic, unspoiled life, removed from the corrupting forces of the modern urban environment. Henri's children reveal a kindness and purity he believed was "an antidote to the evils of over sophistication that stifled man when he reached adulthood" (William Inness Homer, Robert Henri and his Circle, New York, 1988, p. 249).
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