Benjamin Herring, Jnr. (1830-1871) was an English painter who, born into one of Britain's most renowned artistic families, dedicated his relatively short career to the depiction of animals and rural life. As the son of the celebrated John Frederick Herring, Snr., Benjamin Jnr. inherited a rich artistic tradition and a natural inclination towards subjects that resonated deeply with Victorian sensibilities. While his oeuvre may not be as extensive or as widely recognized as that of his father or his elder brother, John Frederick Herring, Jnr., Benjamin Jnr. carved out his own niche with a distinctive, softer touch and a quiet charm that pervades his canvases.
His life, spanning just over four decades, meant his artistic output was limited, yet the works he produced, particularly those from the latter part of his career, are considered his finest. These paintings offer a valuable glimpse into the continuation and subtle evolution of a family's artistic legacy within the broader context of 19th-century British art.
The Herring Dynasty: A Foundation in Art
To understand Benjamin Herring, Jnr., one must first appreciate the formidable artistic environment shaped by his father, John Frederick Herring, Snr. (1795-1865). The elder Herring's journey into art was somewhat unconventional. A famous, though perhaps apocryphal, anecdote often recounted tells of his early life. It's said that around 1814, at the age of approximately eighteen or nineteen, while traveling to Doncaster for the Great St. Leger race meeting, a chance encounter altered his destiny. Staying at an inn, he reportedly met a craftsman repairing a coach—specifically, the panel of the "Royal Forester" coach—and painting its insignia, which included horses. Impressed by the young Herring's evident talent when he took over the task, the coach builder's employer later offered him a position as a coachman. This role, driving routes like the "York and London Highflyer," not only provided a livelihood but also afforded him constant opportunities to observe horses in motion, an experience that would profoundly inform his art.
John Frederick Herring, Snr. transitioned from painting inn signs and coach panels to becoming one of the preeminent animal painters of his era, particularly famed for his dynamic racehorse portraits and bustling farmyard scenes. He received patronage from the highest echelons of society, including Queen Victoria. His success established the Herring name as synonymous with sporting and animal art.
This was the world into which Benjamin Herring, Jnr. was born in 1830, the youngest of John F. Herring, Snr.'s six children. Art was not merely a profession in the Herring household; it was a way of life. Benjamin's elder brothers, John Frederick Herring, Jnr. (1820-1907) and Charles Herring (c.1828-1856), also became painters, each contributing to the family's artistic output, though Charles's career was tragically cut short. John Frederick Herring, Jnr. became a particularly prolific and successful artist in his own right, often working in a style very close to his father's, which sometimes led to confusion in attributions. The artistic lineage extended further; John Frederick Herring, Jnr.'s wife, Kate Rolfe (née Mason), was also a painter, known to exhibit her works.
Early Life and Artistic Training
Growing up in such an environment, Benjamin Herring, Jnr.'s path into art was almost preordained. He received his primary, if not sole, artistic instruction directly from his father. This apprenticeship within the family studio would have been immersive, providing him with a thorough grounding in the techniques of drawing and oil painting, with a particular emphasis on the accurate anatomical representation of animals, a hallmark of the Herring school.
From an early age, Benjamin Jnr. would have been exposed to the business of art, from the preparation of canvases and mixing of paints to the observation of his father and elder brothers at work. He would have learned the nuances of capturing the sheen of a horse's coat, the texture of straw in a stable, and the individual character of various farm animals. His training naturally steered him towards the family specialty: sporting art, with a strong focus on animal portraiture and genre scenes set in stables and farmyards.
Unlike some artists who rebel against familial traditions, Benjamin Jnr. seemed to embrace the subjects and general style favored by the Herrings. However, as his own artistic voice began to emerge, subtle distinctions in his approach became apparent, setting his work apart from that of his more famous relatives.
Artistic Style and Development
Benjamin Herring, Jnr.'s artistic style is deeply rooted in the tradition established by his father. He shared the family's commitment to realism, meticulous attention to detail, and an empathetic understanding of his animal subjects. His paintings often feature horses, cattle, donkeys, pigs, and poultry, usually depicted in familiar rural settings such as stables, barns, and farmyards. The compositions are typically well-balanced, with a clear narrative element, however simple.
A key characteristic that distinguishes Benjamin Jnr.'s work is his palette. While John F. Herring, Snr., and John F. Herring, Jnr., often employed rich, deep colors and strong chiaroscuro to create dramatic effects, Benjamin Jnr. tended towards a softer, more muted range of tones. His colors are often gentler, with a preference for lighter hues and a more diffused light, lending his scenes a calmer, more pastoral atmosphere. This subtle difference in chromatic choice gives his paintings a distinct, somewhat more tranquil quality.
His brushwork, while precise, could also exhibit a slightly looser, more painterly quality in certain passages compared to the often highly finished surfaces of his father's major commissions. He was adept at capturing the textures of animal fur and feathers, the roughness of wooden beams, and the scattered light in a dusty barn interior. His animals are rendered with anatomical accuracy and a sense of individual personality, a skill undoubtedly honed through years of observation and practice under his father's tutelage.
While he painted sporting subjects, including horses, his oeuvre seems to lean more consistently towards domestic farm scenes rather than the high-octane drama of the racetrack that so often characterized his father's most famous works. This preference for the everyday life of the farm allowed him to explore quieter narratives and a more intimate portrayal of animal life.
Notable Works and Thematic Preferences
Due to his relatively short career, the body of work attributed to Benjamin Herring, Jnr. is not as vast as that of his father or elder brother. However, several paintings stand out as representative of his style and thematic concerns.
One of his frequently cited subjects is the "Farmyard" scene. Paintings titled thus, or with similar descriptions, typically depict a collection of farm animals – horses, cows, pigs, chickens, ducks – in a bustling yet harmonious barnyard setting. These compositions allowed him to showcase his skill in rendering various animal types and their interactions within a familiar, rustic environment. For example, a work like Farmyard Scene might feature horses at a trough, chickens pecking at the ground, and perhaps a dog observing the proceedings, all rendered with his characteristic attention to detail and softer light.
"Horses in a Farmyard" is another recurring theme. These works often focus more specifically on equine subjects, perhaps a workhorse resting after labor, or a mare with her foal. An example could be a painting showing several horses of different breeds and colors gathered near a stable, with details like hay bales, water troughs, and rustic fencing completing the scene. His ability to capture the gentle nature of these animals, as well as their physical power, is evident in such pieces.
"Four Horses and a Groom" exemplifies his skill in depicting both animals and human figures within a sporting or stable context. Such a painting would likely show a groom tending to several horses, perhaps in a stable yard or preparing for a ride. The interaction between the human figure and the animals would be a key element, rendered with a sense of realism and quiet dignity.
Another example of his work is "Stable Interior with Cart Horse and Donkey." This title suggests a more intimate interior scene, focusing on the humble working animals of the farm. The interplay of light and shadow within the stable, the textures of straw and wood, and the patient demeanor of the cart horse and donkey would be characteristic features.
His paintings often convey a sense of peace and order, a romanticized yet believable vision of rural life that appealed to Victorian audiences. While his father captured the thrill of the turf and the grandeur of prize-winning livestock, Benjamin Jnr. often found beauty in the more commonplace, everyday aspects of the agricultural world.
Exhibitions and Recognition
Benjamin Herring, Jnr. did exhibit his works, though not as extensively as his more long-lived relatives. He is recorded as having shown a small number of paintings at institutions such as the Royal Society of British Artists (RBA) on Suffolk Street and potentially other London or regional venues. The decision to exhibit, particularly after his father's death in 1865, would have been a way to establish his own identity, albeit within the established Herring framework.
It is generally noted that the paintings he produced towards the end of his life, in the late 1860s and up to his death in 1871, are considered his most accomplished. This suggests a maturing talent that was unfortunately cut short. His early death at the age of 41 naturally limited the volume of his output and the extent to which he could build a widespread reputation comparable to that of John Frederick Herring, Snr.
Despite this, his works are appreciated by collectors of British animal and sporting art. They appear periodically at auctions, where they are valued for their charm, technical competence, and connection to the esteemed Herring name. While he may not have achieved the same level of fame, his contribution is recognized as a genuine, if more modest, part of the family's artistic legacy.
The Context of Victorian Animal Painting
Benjamin Herring, Jnr. worked during a period when animal painting and sporting art enjoyed immense popularity in Britain. The 19th century saw a burgeoning middle class with disposable income, an increased interest in country pursuits, and a sentimental attachment to animals, both domestic and agricultural. This created a strong market for artists specializing in these genres.
The towering figure in Victorian animal painting was Sir Edwin Landseer (1802-1873), whose dramatic and often anthropomorphic depictions of animals, particularly stags and dogs, captivated the public and earned him royal favor. Landseer's influence was pervasive, setting a high bar for technical skill and emotional engagement.
However, the tradition of animal painting was rich and varied. Earlier artists like George Stubbs (1724-1806), with his unparalleled anatomical studies of horses, had laid a scientific and artistic foundation. Sawrey Gilpin (1733-1807) was another important predecessor known for his elegant horse portraits and romantic landscapes. James Ward (1769-1859) was a versatile and powerful painter of animals, often on a grand scale, imbuing his subjects with a Romantic intensity.
Contemporaries of the Herrings, or those whose careers overlapped significantly, included Abraham Cooper (1787-1868), known for his battle scenes and sporting subjects, and Richard Ansdell (1815-1885), who, like the Herrings, specialized in animal and sporting paintings, often with a Scottish or Spanish flavor. Thomas Sidney Cooper (1803-1902) became exceptionally famous for his meticulously rendered paintings of cattle and sheep in pastoral landscapes, enjoying a remarkably long and successful career.
Other artists contributing to the genre included William Huggins (1820-1884) of Liverpool, known for his detailed animal portraits, and later figures like Heywood Hardy (1842-1933), who painted elegant hunting scenes and animal subjects, and John Emms (1844-1912), particularly renowned for his lively depictions of dogs, especially foxhounds. Even earlier artists like George Morland (1763-1804), with his rustic scenes of rural life and animals, had paved the way for the genre's popularity and influenced the depiction of farmyard settings. The Herring family, including Benjamin Jnr., operated within this vibrant and competitive artistic landscape. Their particular strength lay in the detailed and sympathetic portrayal of horses and farm life, a niche they dominated for much of the century.
Challenges and Legacy
One of the inherent challenges for Benjamin Herring, Jnr. was undoubtedly working in the shadow of his highly successful father and his prolific elder brother, John Frederick Herring, Jnr. Establishing a distinct artistic identity while adhering to the family's established themes and style was a delicate balance. His choice of a softer palette and often more tranquil subject matter can be seen as a subtle way of differentiating his work.
His premature death was the most significant factor limiting his legacy. A longer career might have allowed him to develop his style further, produce a larger body of work, and gain wider recognition. As it stands, his contribution is that of a talented artist who capably continued a significant family tradition, adding his own gentle inflection to the depiction of British rural life.
Today, Benjamin Herring, Jnr.'s paintings are valued for their intrinsic artistic merit and as part of the broader narrative of the Herring dynasty. They offer a quieter, perhaps more pastoral counterpoint to the often more dramatic or formal works of his father. His canvases evoke a sense of nostalgia for a bygone era of British agriculture and country life, rendered with skill and affection. For collectors and enthusiasts of Victorian animal art, his works remain appealing for their charm, technical proficiency, and the enduring appeal of their subjects.
Conclusion
Benjamin Herring, Jnr. occupies a specific and respectable place in the annals of British 19th-century art. As a member of the illustrious Herring family, he was heir to a significant artistic tradition, which he embraced and continued with skill and sensitivity. While his career was curtailed by his early death, the paintings he left behind demonstrate a genuine talent for animal portraiture and the depiction of rural scenes.
His preference for a softer palette and often more tranquil compositions distinguishes his work subtly from that of his celebrated father, John Frederick Herring, Snr., and his productive brother, John Frederick Herring, Jnr. Works such as "Farmyard," "Horses in a Farmyard," and "Four Horses and a Groom" showcase his ability to capture the essence of his animal subjects and the atmosphere of Victorian farm life.
Though perhaps not as widely known as other members of his family or giants of animal painting like Landseer, Benjamin Herring, Jnr. made a worthy contribution to a beloved genre. His art provides a gentle and enduring window onto the pastoral world of 19th-century Britain, securing his position as a competent and appealing painter within a remarkable artistic dynasty.
