Henry Ward Ranger, Syracuse, New York, 1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger,  Syracuse, New York,  1858~1916

Henry Ward Ranger, Syracuse, New York, 1858~1916

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Henry Ward Ranger, a landscape painter, was born in Syracuse, New York, in 1858. He studied at Syracuse University from 1873 to 1875. He was the son of a commercial photographer. He started painting watercolors after receiving little to no official training and being self-taught. Midway through the 1870s, Ranger established a studio in New York City. In 1881, he presented work at the American Watercolor Society. The young artist traveled to Paris after being moved by the Barbizon School landscapes and a Corot he had seen in New York; he was uninterested in Bastien le Page's meticulous style or the new Impressionism. Instead, he was drawn to the works of Millet, Theodore Rousseau, and Adolphe Monticelli.
 
Ranger, who had a great respect for the old masters, developed his technical skills by imitating works by Constable, Claude, and Hobemma at the Louvre. He studied with the Hague School masters Joseph Israels, the Maris brothers, and Van Gogh's uncle Anton Mauve during three crucial formative years in The Netherlands. He appreciated these artists for being "the lineal successors of the Barbizon School." At North Laren, Holland, he spent a good deal of time sketching with the group.
 
In 1888, Ranger made his way back to the country and resided in New York City. In 1887, he debuted at the National Academy of Design, and in 1890, he debuted at the Society of American Artists. The late Barbizon art colony in Old Lyme, Connecticut, which was centered around the Florence Griswold house, was founded in the summer of 1899, and Ranger was one of its founders.
 
In 1901, the National Academy of Design admitted him as an associate member. In 1906, he was made a full academician. He left the school his whole estate, with the condition that the proceeds be utilized to buy works by active American painters. He was a nationalist who was passionate about American art and artists. The Smithsonian Institution may purchase any piece it wants if it does so between ten and fifteen years following an artist's passing. He also ordered that these works be lent to any public American museum.
 
Following his return from Europe, Ranger devoted the rest of his life to painting the traditional, naturalistic Barbizon style of the New England landscape. He specialized in painting interiors of forested forests with shimmering light filtering through the treetops, typically in settings of lush spring or golden fall. He occasionally departed from his Barbizon and Hague School forebears by employing vivid colors and giving in to the Impressionist influence. His technique was notable for its vibrant color harmonies, thickly applied and highly textured paint. He was a traditionalist who respected traditional methods, technical prowess, and workmanship.
 

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He was influenced by the autumnal hues, supple forms, and poetic atmosphere of George Inness's late landscapes around the turn of the century. Ranger was a significant character who, by 1906, was widely regarded as the movement's recognised leader. His autobiographical book Art-Talks with Ranger, published in 1914, became the movement's official statement of aesthetic intent despite the fact that he never took on students. In 1916, he passed away in New York City.

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