亨利·法尔尼Henry Farny（1847年7月15日——1916年12月23日），美国画家、插画家。
Farny的家人离开法国在1853年移民到美国。全家搬到了沃伦在宾夕法尼亚州，靠近塞内卡保留。作为一个孩子，他学会了从塞内卡印地安人，谁从他们在纽约州预约排在他的父亲住在附近打猎的树林绝杀。在他的童年，他很喜欢，包括他的父亲的板房子的墙壁用的动物，鸟类和印地安人的照片，这是他划伤用指甲或烧焦棒的援助框架的。
大约1859年，Farny全家搬到俄亥俄州辛辛那提。通过绘画和绘图的吸引，这个年轻人成为了杂志和书籍的儿童插画家。当他18岁的时候，哈珀的周刊出版了辛辛那提的双页面视图他做了。
1867年与1870年和他采取了私人的经验教训，从阿尔伯特Bierstadt在杜塞尔多夫。到时候Farny曾在杜塞尔多夫抵达，并开始参加杜塞尔多夫学院 19世纪60年代后期的绘画杜塞尔多夫学校已经开始失去其曾经高度评价当中大多数美国民众研究。
美国的一部分的地方，这是不是这种情况在俄亥俄州辛辛那提所在的现实主义者目标留校任教仍然被人敬重。尽管这样，在他的回归到辛辛那提在1870年Farny，谁曾出国留学，回到家中，通过对Cincinnatians他的画作一种微创响应需求。曾在海报绘画等零工的服务他的新发现的技能。1873年，当他由商会委托绘制猪肉包装的不同阶段，在辛辛那提来描述这一切都改变了。
1881年，由发展中市场的印度绘画的启发，Farny走遍了密苏里河，制作草图，笔记和照片，并收集文物。在几个车次较多西他也一样，直到他的辛辛那提工作室包含足够的材料几乎所有的印度受他希望来说明。在他的回归到辛辛那提，他说：“在平原，巴茨，全国，人民是材料的艺术家比欧洲任何国家的更充分。“
大约一百画作被Farny在19世纪80年代西方旅行的启发。日粮日在岩常委机构，会说话的丝之歌，和最后的守夜是在他最为著名。他对印度的困境的认识是在他的作品往往明显。
Farny是的创始成员之一辛辛那提艺术俱乐部，并担任从1892年至1894年的第二任总统。
西奥多·罗斯福曾到Farny说：“。Farny，国家欠你一个很大的人情它并没有意识到这一点，但现在它有一天您保存为正在迅速逝去美国历史的后人阶段”
他在辛辛那提去世于1916年。
Farny谁是一位学识渊博的人，都慕尼黑和杜塞尔多夫美术学校的学生，不过，可以看出，从他的艺术作品已经同化一个单调的风格的现实主义的杜塞尔多夫技术引入到他的画。在他当时的土著美国人的岗位内战时代和压迫的描写，Farny巧妙地画混杂的情况下，如印度困惑检查电话线路。有权（在说到线，1904年的主要工作歌曲）这幅画能“在反对白人的技术，他必须屈从斗争'”约翰Clubbe“被解释成。有一则题为沿着这幅画新的一天早晨，显示在一个下雪山上观看远处的火车土著美国人都获得了Farny练画的“消失的种族”的风格而闻名。
Farny's family left France in 1853 to emigrate to the United States. The family moved to Warren inPennsylvania, near a Seneca reservation. As a child he learned the lore of the woods from Seneca Indians, who came from their reservation in New York state to hunt in the neighborhood where his father lived. In his boyhood he was fond of covering the walls of his father's board-house with pictures of animals, birds and Indians, which he scratched with nails or framed by aid of burnt sticks.
Around 1859, the Farny family moved to Cincinnati, Ohio. Attracted by painting and drawing, the young man became an illustrator for magazines and books for children. When he was 18 years old, Harper's Weeklypublished a double page view of Cincinnati he made.
Between 1867 and 1870 he took private lessons from Albert Bierstadt in Düsseldorf. By the time Farny had arrived at Düsseldorf, and began attending Düsseldorf academy in the late 1860s the Düsseldorf school of painting had already begun to lose its once high acclaim amongst most of the American populace.
One part of America where this was not the case was in Cincinnati, Ohio where the realist objectives taught there were still being held in high esteem. Despite this, upon his return to Cincinnati in 1870 Farny, who had been studying abroad, came home to a minimally responsive demand by Cincinnatians for his paintings. He used his new found skills in the service of poster painting and other odd jobs. In 1873 this all changed when he was commissioned by the chamber of commerce to depict in drawing the different stages of pork packing in Cincinnati.
In 1881, inspired by the developing market for Indian paintings, Farny traveled up the Missouri River, making sketches, taking notes and photography, and collecting artifacts. On several more trips West he did the same, until his Cincinnati studio contained enough material for almost any Indian subject he wished to illustrate. Upon his return to Cincinnati, he remarked: "The plains, the buttes, the whole country and its people are fuller of material for the artist than any country in Europe."
About a hundred paintings were inspired by Farny's western trips in the 1880s. Ration Day at Standing Rock Agency, The Song of the Talking Wire, and The Last Vigil are among his most famous. His understanding of the Indian's plight is often apparent in his work.
Farny was one of the founding members of the Cincinnati Art Club and served as its second president from 1892–94.
Theodore Roosevelt once said to Farny: "Farny, the nation owes you a great debt. It does not realize it now but it will some day. You are preserving for future generations phases of American history that are rapidly passing away."
He died in Cincinnati in 1916.
Farny who was an erudite scholar, and student of both Munich and Düsseldorf's school's of fine arts, nonetheless, can be seen, from his works of art to have assimilated the Düsseldorf techniques of a drab styled realism into his paintings. In his depictions of the post civil war era and oppression of Native Americans at the time, Farny masterfully painted confounding situations, such as a perplexed Indian examining a telephone line. This painting entitled (In song of the Talking wire, a major work of 1904) can be interpreted as 'in the struggle against the white man's technology he must succumb' "John Clubbe". This painting along with one entitled Morning of a New Day which shows Native Americans on a snowy hill watching a far away train have gained Farny a reputation of practicing the 'vanishing race' style of painting.
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