I think Ranger at the end of a long career had the power of discovering beautiful qualities in nature and of seeing them profoundly. I knew him well, and many times we discussed art and artists. I found his knowledge broad and intimate. His view that a painter simply passes on a sensation was repeated to me many times. I think one may frankly agree with this opinion, but I do not think a painter originates or creates a sensation. In the presence of nature he simply receives it and then transmits it, the result being dependent upon his natural or acquired power of perception, his memory, and his technical ability. Ranger’s paintings are characterized by an understanding of nature, and this was the result of a lifetime of the most earnest, patient, and persistent study. Probably no modern artist was more industrious, for his studio was filled with studies in colour and many thousands of pencil drawings. Indeed, so familiar was he with the colours and characteristic forms of nature that he frequently reproduced these with much delicacy, relying solely upon his memory and a few accurate pencil notes. In discussing his method, I recall his remark that he painted in the studio because he could get closer to nature that way than by painting out of doors. Painters universally understand the difficulties of painting in the open because of conflicting lights. They also realize the more certain judgment of the experienced eye when painting in a quiet or more subdued light; but to do this requires great knowledge and a retentive memory. As illustrating Ranger’s method of study and his reliance upon memory, I recall an occasion when he studied long and patiently the union or combination of two colour notes, the sky and water--for we were sailing at the time. He remarked upon the beautiful harmony expressed by these colours. He studied them intently, evidently with the thought of reproducing them later. I also remember a painting expressive of the charm and beauty of a moon-light night. It was painted at his Noank home. I believe this picture was painted almost wholly in his studio. I think it was the result of an infinite number of impressions received as he studied, evening after evening, the ocean and the sky. By this I mean that while Ranger in this painting was passing on a sensation, he was only passing on the truth and beauty of nature as realized by him night after night, and recorded in his memory. The point here raised is one of vital importance with reference to the subject under consideration. It is that the painter does not express anything he has not received. He pursues one of two methods: he either secures beautiful qualities in the presence of nature or he reproduces qualities stored in his memory. [SN: _John La Farge_]