Initially a painter who studied under Fernand Léger, Henri turned to photography in 1927 after attending a summer course at the Bauhaus with László Moholy-Nagy. The influence of both heritages is apparent in this powerful abstract image. Henri arranges smooth, industrially produced objects—a round ball and a metal grate—against mirrors to create a play of space and reflective surface. Simultaneously, she imbues her objects with stasis and poise that resonates with the universalizing impulse of Purism, a painting movement advocated and practiced by such artists as Léger, Amédée Ozenfant, and Le Corbusier, which sought to depict the simple, essential geometries of everyday objects.
Inscription: Inscribed in pencil on print, verso LR: "60"
Laszló Moholy-Nagy [?] to Arthur Siegel; [Edwynn Houk to Kicken]; [Rudolf Kicken to Waddell, November 19, 1982]; John C. Waddell
Published as Composition with Mirror in The New Vision, page 89. JCW notes that provenance is according to Edwynn Houk.