A 1908 portrait by Richard Gerstl, capturing Henryka Cohn through expressive, gestural brushwork and a stark contrast between cool and warm tones.

Richard Gerstl painted this portrait of Henryka Cohn in 1908, the final year of his life. The work displays the artist's characteristic approach to portraiture, which prioritises psychological immediacy over conventional academic finish. Gerstl applies paint with a visible, energetic hand, creating a surface that feels both urgent and raw. The subject, Henryka Cohn, is depicted in profile, seated against a backdrop of deep, moody blues that contrast with the textured, warm tones of the chair or sofa she occupies.

Gerstl was an outlier within the Viennese art scene of the early twentieth century. While his contemporaries often leaned towards the decorative stylisation of the Secession movement, Gerstl moved towards a more subjective and emotive mode of expression. His brushwork is loose and unrefined, allowing the viewer to trace the physical act of painting. The figure of Cohn is rendered with a sense of detachment, her gaze directed towards the viewer, creating a tension between the sitter and the surrounding environment. The light-coloured, semi-transparent garment she wears provides a visual anchor, catching the light and separating her form from the darker, more chaotic application of colour in the background.

This portrait belongs to a period of intense creative output for the artist. His work remained largely unknown during his lifetime, only gaining recognition decades later. By rejecting the polished aesthetic favoured by the artistic establishment in Vienna, Gerstl produced images that feel remarkably modern. The focus here is on the internal state of the subject, captured through a combination of colour choice and rapid, gestural application. The painting remains a primary example of his unique contribution to the development of early European expressionist portraiture.