Henry Farny: A Change of Scene

"Pere Marquette into the Unknown" by Henry Farny

"Henry Farny remained primarily in Cincinnati for the rest of his life, frequently exhibiting his work there, as well as at the South Carolina Interstate and West Indian Exposition in 1901-1902, and the Saint Louis Exposition in 1904. Many of the artist's paintings were purchased at his Cincinnati studio, mostly by local clients. In fact, it seems that a number of Farny's patrons had to wait considerable lengths of time before receiving paintings they had commissioned. There are several letters almost pleading with Farny to undertake and complete work. Because of this demand for his paintings, there was little need for Farny to travel or exhibit widely.

In 1902, President Theodore Roosevelt visited Cincinnati, and during an  official visit to an exhibition, he praised several of Farny's paintings. Farny had known Roosevelt for some time and had apparently hunted with him. A painting of Roosevelt on a grouse hunt is now in a private collection. In early 1904, the German Prince Hohenlohe visited Farny's studio because he had been an admirer of the artist ever since a Cincinnatian had presented a Farny painting to Emperor William some years before. Of course, incidents such as these probably increased Farny's reputation and the demand for his paintings.

In 1907, Farny married his ward, Ann Ray, who gave birth to their son, Daniel, in 1908. At about this time, Farny showed a lack of interest in Indian subjects and considered giving them up. He seems to have wanted a new challenge, and so he planned a trip to Europe to study portrait painting, but it is unknown whether he went. He did begin a series of historical paintings, the first of which was completed in 1908. Although he apparently planned a series of paintings that dealt with the early exploration of America, only four are known to exist. One example is 'Into the Unknown,' dated 1910 which represents Father Le Caron who voyaged into the Canadian wilderness in 1615. His compositions and motifs for these paintings are not significantly different from those in his Indian paintings. He used similar landscape motifs but replaced the Indians with historical figures in these works."

To be continued 

(Excerpts from "Henry Farny" by Denny Carter.) 

Henry Farny: The Changing West

"The Song of the Talking Wire" by Henry Farny

"Most of his life Farny remained a bachelor, not marrying until 1906. Over the decades he employed a number of men, usually the down and out, to assist him in the studio and in the field. Farny referred to them as his 'secretaries' - 'old man Bee or Hennessey and others - but they served as Farny's models as well. The most prominent of these secretaries was known to Farny's artist friends as 'Ogallala Fire,' also called Joe. He had been a participant in the Battle of Little Big Horn; it was he who posed for the canvas 'The Last of His Race.' Indignant over the treatment of Indians and generally sympathetic toward those in need, Farny helped Indians whenever he could.  

Throughout his career, Farny used symbolism to show the effects of white civilization on the Indians. 'New Territory' depicts a family of Indians on the move who pause to look at the wagon tracks crossing their path. The Indians' faces reflect attitudes of curiosity, bewilderment, and consternation at this new phenomenon, and even the horse gazes with interest at the tracks, indicating the coming of the white man and the imminent breakdown of the Indian lifestyle. Similar to this theme, Farny also used the railroad as representative of the vanishing frontier, for which he and many people of his time already felt nostalgia. In 1910, when asked whether he would ever return to the West, the artist said: 'It breaks my heart to see the prairies cut up with barbed wire, and to see the once noble Red Man debauching himself with fire water on the reservations. The golden West isn't what it used to be.' 

In 1894 Farny took his last journey West. He left Cincinnati by train for Indian Territory meeting up with General Nelson Miles, who was responsible for Geronimo's capture. He had invited Farny to join him on an inspection tour of the reservation where Kiowa and Comanches were settled, as well as about two-hundred Apaches including Geronimo. Farny sketched Geronimo and used the sketch as a basis for several later paintings. While on the reservation, he watched a ghost dance the Indians held in honor of General Miles. Other than this last trip, Farny remained primarily in Cincinnati for the rest of his life, frequently exhibiting his work there."

To be continued

(Excerpts from "Henry Farny" by Denny Carter.)  

Henry Farny: Down the Missouri

"The Heart of the Rockies"
by Henry Farny

"In 1884 Henry Farny traveled West once more, this time to illustrate an article written for Century magazine. Leaving Helena, Montana on September 16, a group of fourteen men, including Farny and the governor of Montana, took two boats down the Missouri River and arrived at Fort Benton on September 22. On this trip, they passed through mountain country that was largely inaccessible by foot or horse and also passed the settled, agricultural area above Fort Benton. 

The 'Helena Daily Herald' described their itinerary in their September 16, 1884 edition:

'Two boat loads of excursionists pulled out from Helena this morning on wheels for Stubb's Ferry, where they will set sail on the two water crafts under the command of Commodore W.F. Wheeler, on a voyage down the Missouri, through the grandest scenery of any river in the world. We may expect to read and see graphic sketches of this voyage portrayed by pen and pencil by some of the voyagers, who, as editors and artists, are equal to the task of describing and painting in glowing colors the grandeur of the upper Missouri. The party goes prepared to tackle fish and game, and to brave the perils of water, inwardly and outwardly, and to enjoy the pleasures of a camp of jolly sailors by night and the mess of a bully crew by day. Arriving at the Great Falls of the Missouri the party will make a portage, in which their boats will be hauled by wagons about 20 miles, when they will proceed to Fort Benton, and reach there probably next Sunday.' 

Farny proved an able hand at running rapids. The spectacularly wild scenery visible during the day gave way at night to 'weird profiles and masks' looking down from giant steep rocky walls and, at night, gave the 'wanderers a sense of loneliness and mystery.'

Farny's illustrations for this article describe the mountain scenery through which they passed. These illustrations are the artist's first known depictions of the western mountains, and, because of his desire to represent them realistically, he evolved a style different than earlier artists had used. Albert Bierstadt and Thomas Moran had both traveled int he West, and they created panoramic and dramatic views, often showing a valley with an enormous mountain in the distance. Farney's depictions give a more intimate view of this country, and he generally chose a low and near viewpoint. As a result, the mountains rise steeply and are cut off by the sides of the composition, thus evoking a sense of being enclosed in a mountain space."

To be continued

(Excerpts from "Henry Farny" by Denny Carter, "The Artist as Indian Storyteller" by Susan Labry Meyn in "Henry Farny Paints the Far West," and "Down the River" in the "Helena Daily Herald," Sept. 16, 1884.)

 

Henry Farny: Paintings of Indians

"In Pastures New" by Henry Farny

"During the years 1880 through 1892, Henry Farny illustrated for Harper's, Century, and various publishers. However, he devoted more time to his painting, using both oil and gouache, and began his Indian paintings. Apparently the market for Indian subjects was a good one, and he became well known for them. He took several trips to the West to gather material. 

At that time the West was already becoming a nostalgic subject for Americans. The frontier had officially ceased to exist in 1890; a transcontinental railroad had been completed in 1869 and most of the Indians had been confined to reservations during the 1870s. The buffalo had already passed into legend by the time of Farny's visits.

After collecting a large cache of Indian material while with the Sioux at Fort Yates, he returned to Cincinnati with a number of sketches, mostly Indian portraits rather than landscapes. In addition, he took 124 photographs and acquired a considerable number of artifacts, such as a buffalo tooth necklace, a war bonnet, and a tobacco pouch. This material became the basis for Farny's Indian paintings, because he used and reused certain motifs from these sources to create his compositions. During subsequent western trips Farny added to his collection until he could produce a steady stream of authentic looking paintings without moving from his Cincinnati studio.

According to legend, Farny was given a Sioux name while he was at Fort Yates and a circle and dot became the emblem for that name. Whatever its source, the mark became a distinctive part of Farny's signature and was seldom missing on his work. It is interesting to note that from the time of Farny's change in signature, known examples of his paintings began to increase. 

In the early summer of 1882, Farny went to Washington, D.C. to illustrate Frank Cushing's articles on the Zuni Indians for 'Century Magazine.' He used live models from a contingent of the Zuni who were visiting Washington and photographs of their pueblos to create his illustrations. The first of Cushing's articles appeared in December, 1882 and altogether, they contained at least eighteen illustrations by Farny. 

To be continued

(Excerpts from "Henry Farny" by Denny Carter.)  

Henry Farny: Cincinnati

Frank Dengler, Frank Duveneck, Henry Farny
"Prayer on the Battlefield"

Henry Farny returned to Cincinnati after his varied studies in Europe, which had also included a little time in 1873 under Wilhelm von Diez at the Royal Barvarian Academy in Munich. "He set up a studio which was described as 'romantic little chamber' and 'a perfect little museum of curiosities.' Among the objects were drawings, old engravings, and watercolors that he had acquired in his travels. He had collected copies of illustrations by Gustave Doré, beer mugs from Munich, a number of unusual guns, swords, and knives, a Turkish pipe and a pair of Moroccan slippers, along with a book of Japanese designs. Among Farny's own works in the studio, there were studies of sunsets done during the artist's ocean voyages, character studies, copies of Old Master paintings, and illustrations of scenes described by medieval writers. In addition, there were a number of realistic sketches he had drawn of the prisoners in a local police station. His interests were eclectic.  

By May of 1875, found Farny with Cincinnati painter Frank Duveneck helping arrange booths for the Cincinnati Industrial Exposition. The two artists also collaborated on a large historical painting, 'Prayer on the Battlefield,' representing Joan of Arc, which they exhibited at the Exposition. In August, 1875, Farny departed on a third trip to Europe, with Duveneck, the sculptor Frank Dengler, and the painter John Twachtman. Again he studied under Wilhelm von Diez. Diez's work as an illustrator as well as a painter would have resonated with Farny, whose skills continued to improve under the master's tutelage.

To be continued

(Excerpts from "Henry Farny" by Denny Carter and "The Artist's Materials and Techniques," an essay by Cecile D. Mear in "Henry Farny Paints the Far West.") 

 

 

Henry Farny: Working for Harper's

An Engraving by Henry Farny for Harper's
"The Last Scene of the Last Act of the Sioux War"

"Henry Farny left Woodward High School in 1863, sometime prior to the death that year of his father. But the mid-1860s, he was earning money with his artistic talents. He still had not received any formal training, although he was working as a commercial lithographer for Gibson & Company in Cincinnati. He had made drawings that had been used as illustrations in local newspapers, and soon was sending illustrations of Cincinnati events to Harper Brothers in New York. He finally was invited to work as an engraver and cartoonist for Harper Brothers in New York, where he moved in 1866.

The common technique used by large publishing firms in the 1860s was to provide drawings or photos to wood engravers. At Harper's, craftsmanship was valued, and the engravers were instructed to reflect the original medium and quality of line in reproducing the drawings.

Later in his career, Farny's illustrations for Harper's Weekly, Century Magazine, and other publications were conceived in his Cincinnati studio and then sent to the publishers as drawings or finished paintings in gouache on paper. From the late 1870s onward, the printing technology used by publishing firms had evolved from wood engraving to process engraving, which used photographic and mechanical methods to more efficiently transform an original work of art into a reproducible illustration. The original drawing was photographed, and the image was reproduced on a metal plate that was then rolled with ink and etched in acid. 

The gouaches Farny painted for publication were of a size similar to the oil and gouche paintings he created for exhibition or sale to his patrons, and they can stand on their own as finished works of art. At Harper's in 1866, Farny worked for Mr. Charles Parsons, manager of the art department, who was known for encouraging young artists. In New York, Farny had contact with other artists and would have had the opportunity to see exhibits of work by established artists. Regardless of this opportunity, when Farny was twenty he left the United States for Europe, where he studied traditional painting methods at established academies."

To be continued

(Excerpts from "The Artist's Materials and Techniques," an essay by Cecile D. Mear in "Henry Farny Paints the Far West.") 

 

Henry Farny: Varied European Studies

"The Ford" by Henry Farny

"In September of 1867, Henry Farney left New York for Italy where he hoped to study painting under the protection of Thomas Buchanan Read and the sculptor, Randolf Rogers. Arriving on November 9 in Rome he went to live with Read. He seemed pleased with his first months there, working as both secretary and studio assistant to the older artist. During this time, he drew at night and also worked on paintings of his own. In Rome, he met a number of French students as well as Americans.

But soon Farny was chafing under Read's tutelage. He was assisting Read with his compositions by drawing details in preparatory sketches, but was not yet allowed to help with Read's paintings. Their relationship seems to have deteriorated, and the older artist had placed him with Hermann Herzog, a landscapist working in Germany. Farny complained to his mother:

'I wish to become a painter of figures and specially to study portraits (as a very profitable thing) and here this caprice takes Mr. Read to put me with a landscapist. It is as if one put a young man who wished to become a priest with a lawyer. None the less, I work hard, for to know how to paint a landscape is at least something.'

His lack of interest in landscape painting was ironic, since perhaps Farny's greatest achievement as an artist, was his depiction of the American West. Also, his comments show that his interest in art was a professional one. He wished to earn a living and the particular branch of painting that seemed to be most lucrative was the one he wished to pursue. 

While in Düsseldorf, Farny received an encouraging visit from Albert Bierstadt, a renowned American painter of western landscapes. Bierstadt advised Farny to continue his studies for another year, while praising his rapid progress and predicting great success for him. Bierstadt suggested that after Farny completed his studies they should visit the Rocky Mountains. 

By November of 1868 he moved to Strasbourg where he intended to stay several months to study under a Mr. Schuler. Farny's aunt died that same month, leaving 1,200 francs to his family. Apparently, he was able to use this bequest to finance another two years of European study and travel. We don't know the cities he lived in or who he studied with during this time, but one drawing is inscribed Düsseldorf and dated January 12, 1870, so it's possible he may have spent those two years there." 

To be continued

(Excerpts from "Henry Farny" by Denny Carter.)