A portrait of a young boy by Robert Henri, executed with the bold, expressive brushwork characteristic of the Ashcan School.

Robert Henri, a central figure of the Ashcan School, painted Young Anthony in 1916. This portrait captures a young boy with a direct, unposed quality that defines much of Henri's work. The artist favoured a spontaneous approach, often completing his portraits in a single session to preserve the freshness of his initial observation. His technique relies on broad, confident brushwork rather than meticulous detail, allowing the paint itself to convey the form and character of the subject. The boy is depicted against a dark, indistinct background, which pushes his figure forward and focuses the viewer's attention on his expression. Henri uses a warm palette for the skin tones and hair, contrasting these with the cooler, muted tones of the clothing. The boy holds a spherical object, perhaps a ball, which adds a sense of narrative to the composition. The lighting is focused, catching the boy's face and the texture of his hair, while the rest of the figure remains partially obscured in shadow. Henri was known for his interest in the common person, often seeking out subjects from diverse backgrounds. His style shows the influence of European masters such as Frans Hals and Diego Velázquez, whose work he studied during his travels. By rejecting the polished, academic style popular in the United States at the time, Henri sought to capture the spirit and humanity of his sitters. This portrait is an example of his ability to render a personality with economy and vigour. The work remains a study in light and character, demonstrating his belief that the artist's primary task is to find the beauty in everyday life.