Henrietta Shore, often compared to her contemporary Georgia O’Keeffe for their preferred subject matter, was one of the most progressive modernist painters of the early twentieth century. Shore trained at the New York School of Art under William Merritt Chase and Robert Henri before moving to southern California where she found the natural landscape most inspiring. Although primarily located on the west coast, Shore maintained close relationships with the New York art scene including photographer Edward Weston who recorded his first visit to Shore's studio in his diary, as quoted by Roger Aikin in the artist’s retrospective exhibition catalogue of 1986,"...a friend took me to the home of Henrietta Shore. He had said: 'You should see Shore's work: it is unique.' Granting his penetrating judgment, I went, expecting no more than another good painter. Ushered directly into a room hung with Shore's canvases, I stopped short in my tracks silently amazed; here was something outstanding, a notable achievement..." Weston went on to describe the "continuous growth" that Shore's work had undergone in the intervening 6 years since 1927: Shore had become more closely identified with nature, but a nature "freed from non-essentials," and the incorporating of "free sweeping rhythms, grandly contrasted volumes achieved in her abstract painting” He then elaborated, " Shore now realizes a fusion of her own ego with a deep universality... When she paints a flower she IS that flower, when she draws a rock she IS that rock ....Shore's work stimulates directly through the senses without intellectual interference....She possesses a technical perfection rarely seen in contemporary art. A small drawing may represent the labor of weeks or even months" (Roger Aikin, Henrietta Shore, A Retrospective Exhibition: 1900-1963, 1986).