Background
Henry Farrer was born in London, England, the son of a miniaturist, Thomas Farrer. He came to America in 1863.
Henry Farrer was born in London, England, the son of a miniaturist, Thomas Farrer. He came to America in 1863.
Little is known of his youth, though he was probably in moderate circumstances, since he was mainly self- taught.
Upon reaching this country, he established his studio in New York City and painted in both oil and water-color.
He made his home in Brooklyn, where he lived until his death.
He did some landscapes, chiefly of scenes near the coast, but eventually became most widely known as an etcher, being one of the first and most prolific in America.
If any question exists regarding the validity of his claim to being an American artist, it may be emphasized that his art follows closely that of his adopted country.
Farrer’s work offers an interesting study of his development in technique.
His early work was rather detailed and elaborate, but later gained a simplicity and freedom which indicated far greater power.
His first serious attempts at etching were made about 1868, with a press and tools which he himself had made.
He was obliged, however, to follow more lucrative pursuits until 1877, the year of the formation of the etching club.
“The Old Tree, ” etched in 1872, retouched in 1877, indicates his early tendency to over-elaboration, and reflects, in general, his pre-Raphaelite sympathies.
The work of 1877 shows greater skill, but the same deliberate and methodical characteristics.
Two beautiful examples of this period and style are “A Cloudy Day” and “A November Day. ”
“Chickens” (1877) and “The Washerwoman” (1877) mark a growing freedom and generous use of the dry-point.
“Winter in the Woods, ” (1878) in which his representation of light and air is excellent, and “December, ” (1877) which is the largest etching in this class, are both noteworthy in the further development of his style.
After this he gradually diminished the use of artificial printing and the dry-point, and placed more emphasis on the etched line.
Some of his later etchings are exquisite and masterful.
They are not only examples of a fine technique, but display rare individuality and charm.
Farrer’s works in other mediums are also worthy of mention.
In 1878 he exhibited “A Quiet Pool” (belonging to Robert Gordon) at the Paris Exposition and also at the National Academy of Design.
He was a member of the Artists’ Fund Society, secretary of the American Water Color Society in 1879 and president of the New York Etching Club in 1881. In the following year he was elected fellow of the Royal Society of Painter-Etchers, London, and in 1885 was made honorary member of the Philadelphia Society of Painter-Etchers.
