Edward Lamson Henry
Born	(1841-01-12)January 12, 1841 Charleston, South Carolina
Died	May 9, 1919(1919-05-09) (aged 78) Ellenville, New York
Occupation	Painter
Signature

Edward Lamson Henry (January 12, 1841 – May 9, 1919), commonly known as E.L. Henry, was an American genre painter, born in Charleston, South Carolina.

Though born in Charleston, by age seven his parents had died and Henry moved to live with cousins in New York City. He began studying painting, there and at the Pennsylvania Academy of Fine Arts in Philadelphia.^[1] In 1860 he went to Paris, where he studied with Charles Gleyre and Gustave Courbet,^[2] at roughly the same time as Claude Monet, Pierre-Auguste Renoir, Frédéric Bazille, and Alfred Sisley.

In 1862, he returned to the United States, where he served as a clerk on a Union transport ship in the American Civil War. After the war he resumed his painting, with many works inspired by his experiences in the war. He moved into the prestigious Tenth Street Studio Building in Greenwich Village, where Winslow Homer also had a studio. In 1869, Henry was elected to the National Academy of Design, New York.^[3]

He died at his home in Ellenville, New York, on May 9, 1919.^[4]

As a painter of colonial and early American themes and incidents of rural life, he displays a quaint humor. He was best known for themes involving transportation, especially railroads, but also stage coach and canal boat journeys, among other means, all rendered in minute detail.^[5]

Henry was a member of the New-York Historical Society. Because of his great attention to detail, his paintings were treated by contemporaries as authentic historical reconstructions.^[3] In 1884, Henry and his wife Frances Livingston Wells moved to the town of Cragsmoor in the Shawangunk Mountains of Upstate New York where they helped to found an artists' colony.^[1] Henry acquired a large collection of antiques, old photos, and assorted Americana, from which he researched his paintings. His wife Frances said that "Nothing annoyed him more than to see a wheel, a bit of architecture etc. carelessly drawn or out of keeping with the time it was supposed to portray".^[3]

Henry's "historical fictions" often portrayed an idyllic and agrarian America, one relatively unperturbed by Civil War or by the growing phenomena of industrialization, urbanization and immigration that were taking place during the period in which he painted.^[6][1]

Henry's paintings were extremely popular throughout his life. Art professor William T. Oedel wrote of his legacy, "Perhaps no artist played so consistently and so durably to the American cult of nostalgia in the last quarter of the 19th century as Edward Lamson Henry."^[3]

• 
  Kept In, 1888. Race was a theme in many of Henry's paintings, inspired by his time in the Civil War.
• 
  Presentation of Colors, 1864 depicts the outfitting of two African-American Civil War regiments at the Union League Club of New York.
• 
  Washington at the Battle of Trenton, an engraving after a painting by Henry
• 
  Motherhood. Much of Henry's work romanticized traditional American values.
• 
  The 9:45 Accommodation

Wikimedia Commons has media related to Edward Lamson Henry.

• American paintings & historical prints from the Middendorf collection, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Henry (no. 44)
• Gallery Archived June 27, 2021, at the Wayback Machine
• Also see Valerie Ann Leeds, "Railroad Ties: Edward Lamson Henry, The 9:45 a.m. Accommodation in Context and the Commission by John Taylor Johnston," Nineteenth Century 41(Fall 2021): 10-25.

Authority control databases
International	ISNI VIAF FAST WorldCat
National	Germany United States France BnF data Australia Netherlands Israel
Artists	ULAN RKD Artists Museum of Modern Art Musée d'Orsay Photographers' Identities
People	Trove
Other	IdRef SNAC