Artwork
Henry More
Henry More is an ink print by the Baroque artist William Faithorne. It dates from 1675 and is held in the collection of the National Gallery of Art.
About this work
Overview
William Faithorne’s 1675 engraving presents a portrait of the philosopher Henry More. Rendered in monochrome, the image shows the sitter with tightly curled hair, a solemn expression, and a dark, belted robe. He holds a walking stick, while a muted landscape of trees recedes behind him, providing a modest backdrop to the figure.
Subject & Meaning
The portrait captures More as a learned man of the 17th‑century intellectual milieu, his attire and pose suggesting both scholarly gravitas and genteel status. The inclusion of the walking stick may allude to his travels or the itinerant nature of his philosophical pursuits, while the distant scenery underscores a contemplative atmosphere.
Technique & Style
Faithorne employed the traditional line engraving method, using fine, closely spaced incisions to model light and shadow. The delicate hatching renders the texture of the robe’s folds and the foliage behind the sitter, while cross‑hatching creates depth in the background, exemplifying the meticulous craftsmanship typical of late‑Baroque English prints.
History & Provenance
Created in 1675, the print was likely produced for circulation among the learned circles that admired More’s work. Copies of the engraving have appeared in several 18th‑century collections of portrait prints, and the original plate is documented in the archives of the British Museum, indicating its continued scholarly interest.
Context
The portrait belongs to a period when English engravers were documenting prominent thinkers and cultural figures. Faithorne, a leading practitioner of the craft, often rendered portraits that combined realistic detail with a restrained, dignified composition, reflecting contemporary tastes for sober, intellectual representation.
Artist & collection
Artist
William Faithorne (1616–1691) was a British artist, born in Greater London.
