Benjamin Herring Jr. (1830–1871) was an English painter of sporting subjects, rural scenes, and animals, particularly horses. He emerged from one of Britain's most notable artistic families specializing in these genres, the Herring dynasty, founded by his highly successful father, John Frederick Herring Sr. While his career was relatively short, cut off by an early death, Benjamin Jr. developed a distinct touch within the family's established style, contributing to the rich tapestry of 19th-century British animal and sporting art. His work, though less voluminous than that of his father or elder brother, offers a nuanced perspective on the themes that captivated Victorian audiences.
Early Life and Artistic Lineage
Born in Doncaster, Yorkshire, in 1830, Benjamin Herring Jr. was the youngest of John Frederick Herring Sr.'s six children. His upbringing was steeped in the world of art and the popular sporting culture of the time. His father, John Frederick Herring Sr. (1795–1865), had risen from humble beginnings as a coachman and sign-painter to become one of the preeminent animal painters of his era, celebrated for his dynamic coaching scenes, portraits of racehorses, and idyllic farmyard compositions. Royal patronage, including commissions from Queen Victoria, solidified J.F. Herring Sr.'s reputation.
Benjamin Jr., along with his older brothers John Frederick Herring Jr. (c. 1820–1907) and Charles Herring (c. 1828–1869), received their artistic training directly from their father. This familial apprenticeship was common in artistic dynasties, ensuring the transmission of techniques, styles, and subject matter preferences. The Herring household was, in essence, an active studio where the sons learned by observation, practice, and direct instruction, absorbing the meticulous attention to equine anatomy and the vibrant depiction of rural life that characterized their father's oeuvre.
The environment was undoubtedly one of intense artistic activity. The demand for sporting pictures and charming rural scenes was high in Victorian England, fueled by a prosperous middle class and an aristocracy passionate about country pursuits. The Herrings, as a collective, catered to this market effectively.
The Herring Dynasty: A Collaborative and Competitive Environment
The Herring family often worked in a collaborative manner, a practice that, while fostering a consistent "Herring" brand, can sometimes make precise attribution challenging for art historians. It was not uncommon for family members to contribute to different parts of a single canvas or for them to produce works so similar in style and subject that distinguishing individual hands requires careful connoisseurship. They shared a common visual language, particularly in their depiction of horses, farm animals, and the rustic settings they inhabited.
This collaborative spirit, however, existed alongside a natural element of artistic individuality and, at times, perhaps a subtle rivalry. As Benjamin Jr.'s skills developed, his father, J.F. Herring Sr., reportedly began to add "Sr." to his own signature more consistently. This act is often interpreted as a way to differentiate his work from that of his increasingly proficient sons, particularly John Frederick Jr., whose style closely mirrored his own, and perhaps also Benjamin Jr. as he matured. For Benjamin Jr., establishing his own artistic identity within such a dominant family tradition would have been a significant undertaking.
His brothers also pursued careers as painters. John Frederick Herring Jr. became a prolific artist in his own right, continuing the family tradition of sporting and farmyard scenes, often in a manner so close to his father's that their works are frequently confused. Charles Herring, though less widely known and with a shorter active period, also contributed to the family's output of animal paintings.
Artistic Style and Development
Benjamin Herring Jr. initially adhered closely to the established Herring style, demonstrating a strong grasp of animal anatomy and the ability to render lively, detailed scenes. His early works reflect the direct influence of his father's teaching, focusing on the accurate portrayal of horses in stables, farmyards, or participating in sporting events. He mastered the depiction of glossy coats, musculature, and the characteristic expressions of the animals he painted.
However, as his career progressed, Benjamin Jr. began to cultivate certain stylistic distinctions. One of the most notable was his preference for a somewhat softer and more delicate color palette compared to the richer, often darker, and more robust tones favored by his father and elder brother. His use of light could be more diffused, lending a gentler atmosphere to his compositions.
In his later works, there is evidence of a loosening of his brushwork and an expansion of his landscape elements. While the animals remained central, the surrounding scenery often gained more prominence and was treated with a broader, more atmospheric touch. This evolution suggests a growing confidence and a desire to explore more painterly effects beyond the highly finished surfaces typical of much Victorian animal painting. Some art historians have noted that his contact with, or at least admiration for, the work of Sir Edwin Landseer (1802–1873), the era's most celebrated animal painter, may have encouraged this move towards greater atmospheric depth and a more expressive handling of paint. Landseer's ability to imbue animals with personality and to create dramatic, emotionally resonant scenes set a high bar for all animal painters of the period.
Key Themes and Subjects
Like other members of his family, Benjamin Herring Jr.'s primary focus was on subjects related to rural life and sporting pursuits. Horses were, naturally, a dominant theme. He painted them in various contexts: as prized racehorses, sturdy farm animals, and essential components of coaching and hunting scenes. His depictions aimed for anatomical accuracy, a hallmark of the Herring school, but also sought to capture the individual character of the animals.
Farmyard scenes were another staple of his repertoire. These compositions often featured a variety of domestic animals – horses, cattle, pigs, ducks, and chickens – set within picturesque, if somewhat idealized, rural environments. Works like "Farm-yard (The Old Lodge)" or "Autumn – Farm (The)" exemplify this aspect of his output, showcasing his ability to create harmonious groupings of animals and to evoke the textures and atmosphere of country life. These scenes appealed to a Victorian sensibility that often romanticized the countryside as a place of simple virtues and natural beauty, a counterpoint to the rapidly industrializing urban centers.
Sporting art, in the broader sense, also occupied him. While perhaps less focused on the high drama of the racetrack than his father, his work still engaged with the world of country sports and the animals central to them. The tradition of British sporting art, stretching back to artists like George Stubbs (1724–1806) and Sawrey Gilpin (1733–1807), provided a rich heritage upon which the Herrings built. Benjamin Jr. continued this tradition, adapting it to the tastes of his time.
Representative Works
While a comprehensive catalogue raisonné of Benjamin Herring Jr.'s work is complex due to the collaborative nature of the family and his relatively limited output, several paintings are frequently attributed to him and illustrate his stylistic traits.
"Farm Horses Returning from Work" (dated variously, but likely from the mid to late 1840s or early 1850s) is a good example of his engagement with the farmyard theme. Such paintings typically depict sturdy draft horses, often at the end of a day's labor, being unharnessed or watered. These works celebrate the dignity of labor and the essential role of animals in the agricultural economy. While perhaps not possessing the same anatomical precision or dynamic flair as his father's best work from this period, they demonstrate Benjamin Jr.'s competent handling of a familiar Herring subject.
"The Rose" (1857) is cited as a significant work from his more mature period, painted after he had moved to Meopham Park in Kent. This painting is said to showcase his evolving style, possibly with more fluid brushwork and a greater sensitivity to atmospheric effects. The move to Kent may have provided new landscapes and inspiration, contributing to the development of his individual artistic voice.
Other titles associated with him, such as "Watering the Team (The Homestead)," further underscore his commitment to these rustic, animal-centric themes. These works, often characterized by their tranquil mood and detailed observation of animal behavior, found a ready market among those who appreciated the charm of rural England.
Exhibitions and Recognition
Benjamin Herring Jr. exhibited his works at several prominent London venues, which was crucial for any artist seeking recognition and patronage in the 19th century. He is recorded as having shown paintings primarily at the Royal Society of British Artists (often referred to by its address, Suffolk Street) and the British Institution. These were important exhibition spaces that provided alternatives to the more prestigious, but also more competitive, Royal Academy of Arts.
His father, John Frederick Herring Sr., and his brother, John Frederick Herring Jr., were regular exhibitors at these venues as well, and also at the Royal Academy. For Benjamin Jr., exhibiting at Suffolk Street and the British Institution allowed his work to be seen by collectors, critics, and the art-loving public, helping to establish his reputation independently, albeit within the family context. The specific works he exhibited would have further shaped public perception of his particular talents and thematic preferences. It is important to note that any claims of him exhibiting at modern institutions like MoMA or the Guggenheim are erroneous and likely confuse him with a contemporary artist of a similar name; Benjamin Herring Jr.'s career was firmly rooted in the Victorian art world.
Collaborations Beyond the Family
Beyond the intrinsic collaboration within the Herring family studio, Benjamin Herring Jr. is also known to have collaborated with other artists. One notable collaborator was James Pollard (1792–1867), another prominent painter of coaching and sporting scenes. Pollard, who was a generation older, was renowned for his animated depictions of mail coaches, racing events, and hunting scenes. A collaborative work by Herring and Pollard, likely combining Pollard's expertise in composing dynamic multi-figure scenes with Herring's skill in animal portrayal, could be a highly marketable piece. Records of such collaborations, like a painting sold at auction, attest to these professional interactions, which were not uncommon among artists specializing in similar genres.
These collaborations highlight the interconnectedness of the London art world and the ways in which artists could leverage each other's strengths. For Benjamin Jr., working with an established artist like Pollard could also have offered valuable exposure and learning opportunities.
Context: Sporting and Animal Art in Victorian Britain
To fully appreciate Benjamin Herring Jr.'s contribution, it's essential to understand the context of sporting and animal art in Victorian Britain. This era saw an explosion in the popularity of these genres. The nation's passion for horse racing ("the sport of kings"), fox hunting, and other country pursuits created a sustained demand for art that celebrated these activities. Artists like Henry Alken (1785–1851) and his sons, and the Sartorius family (e.g., John Nost Sartorius, 1759–1828), had already established a strong tradition in sporting art.
Animal painting, more broadly, also flourished. Sir Edwin Landseer was its undisputed superstar, but many other talented artists specialized in depicting animals, both domestic and wild. Thomas Sidney Cooper (1803–1902) became famous for his serene paintings of cattle and sheep in pastoral landscapes, often referred to as the "Cattle Cooper." William Shayer Sr. (1787–1879) was another popular painter of rural and coastal scenes, frequently incorporating figures and animals with great skill. Artists like Abraham Cooper (1787–1868), no relation to Thomas Sidney, excelled in battle scenes and sporting subjects, often featuring horses. Even earlier figures like George Morland (1763–1804), known for his rustic genre scenes with animals, had laid groundwork for the 19th-century painters.
The Herrings, including Benjamin Jr., operated within this vibrant and competitive field. Their particular niche was the combination of accurate animal portraiture with appealing genre elements, creating works that were both descriptive and evocative. The rise of illustrated sporting journals and the increasing affordability of prints also helped to popularize these images, making the names of artists like the Herrings familiar to a wider public.
Challenges and Brevity of Career
Benjamin Herring Jr. faced the inherent challenge of carving out a distinct artistic identity while working so closely with, and in the shadow of, his highly successful father and prolific elder brother. The "Herring" name was a powerful brand, but it could also make it difficult for individual members to be recognized for their unique contributions.
The most significant factor limiting his impact was his tragically early death in 1871, at the age of 41. This cut short a career that was showing signs of mature development. Had he lived longer, he might have further refined his individual style and produced a more substantial body of work, potentially moving further from the direct influence of his father. As it is, his oeuvre remains relatively small compared to that of J.F. Herring Sr. or J.F. Herring Jr., who lived much longer lives.
This brevity means that assessments of his work are often made in comparison to his more famous relatives, and his individual artistic journey is less fully documented. Nevertheless, the works that survive provide valuable insight into his talents and his place within the family tradition.
Legacy and Distinguishing Features
Benjamin Herring Jr.'s legacy is intertwined with that of the Herring dynasty as a whole. The family collectively made a significant contribution to British sporting and animal art, popularizing these subjects and setting a high standard for anatomical accuracy and appealing compositions.
His distinguishing features, as noted, include a tendency towards a softer, more delicate color palette and, in his later works, a looser, more painterly approach to landscape and atmosphere. These subtle shifts suggest an artist who, while grounded in his father's teachings, was beginning to explore his own sensibilities. His preference for tranquil farmyard scenes and gentle depictions of animals, perhaps with less of the high drama found in some of his father's coaching or racing pictures, also helps to define his particular niche.
While his father, John Frederick Herring Sr., remains the most celebrated figure of the dynasty, and John Frederick Herring Jr. the most prolific, Benjamin Jr.'s contribution is that of a talented artist who capably upheld the family tradition while hinting at a more personal artistic vision. His works continue to be appreciated by collectors of British 19th-century art, valued for their charm, their skilled animal portrayal, and their evocation of a bygone era of rural England.
Conclusion
Benjamin Herring Jr. was a skilled painter who navigated the complexities of being part of a famous artistic family. Trained by his eminent father, John Frederick Herring Sr., he mastered the family's specialty of sporting and animal subjects, particularly horses and farmyard scenes. While his career was curtailed by his premature death at the age of 41, he developed a recognizable style characterized by a softer palette and, in his later period, a more expansive and atmospheric treatment of landscape. He exhibited his work in London, contributing to the vibrant Victorian art scene alongside contemporaries like Landseer and Pollard. Though his output was limited, Benjamin Herring Jr.'s paintings offer a gentle and accomplished perspective on the rural and sporting life that so fascinated 19th-century Britain, securing his place as a noteworthy, if sometimes overlooked, member of the distinguished Herring dynasty. His art serves as a quiet testament to his talent and his role in continuing a significant tradition in British painting.
