Chauncey Foster Ryder
(1868 - 1949)
Chauncey Foster Ryder was active/lived in New York, New Hampshire. Chauncey Ryder is known for sea-landscape and portrait painting, lithography.
Chauncey Foster Ryder
Biography from Childs Gallery
Chauncey Foster Ryder was born in Danbury, Connecticut in 1868. He
spent much of his youth in New Haven, Connecticut, where he began to
pursue an interest in painting between the ages of ten and
twelve. In his early twenties he moved to Chicago for artistic
instruction, studying first at the Art Institute and then at Smith's
Academy, where he became an instructor after his first year as a
student. In 1891 he married Mary Dole Keith, and in 1901 they
sold their belongings and moved to France so that he could study art in
Biography from Spanierman Gallery
He first enrolled in the Academie Julien, under Jean Paul Laurens and
Raphael Colin; after two years there, he began to exhibit works at the
annual Paris Salon, and showed works regularly there from
1903-1909. At this time he also developed a friendship with
American artist Max Bohm, who profoundly influenced his style with his
dramatic and moody compositions. In 1907 Ryder won an honorable
mention for Ce Que Rende La Mer
(That Which the Sea Gives Up), the figurative style of which is very
different from Ryder's characteristic landscapes, which even
contemporaries recognized to be his usual style.
1907 was also an important year for Ryder when the prominent New York
art dealer, William Macbeth, began to represent him, selling the first
of Ryder's works after only two months of partnership. This was a
lifelong business relationship, and Macbeth was responsible for the
marketing of Ryder's painting style, as well as his works, hanging,
framing, and even titling the production that poured from Ryder's
studio. That fall Ryder moved to New York City and began to show his
work both in Paris and in New York, and finally in 1909 he opened a
studio in New York.
In 1910 Ryder began to travel through New England, the landscape of
which provided much of the subject matter for his work. He and his wife
bought "a little house and three acres in Wilton, New Hampshire," and
for the rest of their lives, they split their time between New York
City in the winter months and New Hampshire in the spring and summer.
From their home in Wilton they traveled throughout New England, and
continued to do so until old age. From this point until the end
of his life, Ryder's works gained great popularity due to his
consistently recognizable style, what is called his "Ryder green…that
was, in part, responsible for the pleasing quality and unique character
of his work,". Shortly after the purchase of the New Hampshire
property, Ryder began to undertake lithographs, in addition to the
drypoints, etchings, drawings, and watercolors he already produced, at
the behest of Bolton Brown, one of the premier lithographers of his
time. These lithographs were shown alongside his paintings at
Macbeth's gallery in New York.
Ryder died in 1949 in Wilton, New Hampshire. His work is known
today primarily through his oil painting, and it was known and
recognized at the time of his death for its "economy of line" (About
the Artist). In addition, however, "the unusual and vigorous
quality to his prints" (Chicago Society of Etchers) was also noted, and
the way his landscapes engaged the aesthetic of the abstract without
presenting abstract subject matter, in a time when the general public
was unsure about how to approach truly abstract art.
The bareness of his drypoints, in particular, is stunning; there is a
true feeling of his "unfailingly kind and gentle" (Memories of Chancey
and Mary Ryder), simple personality, and a deep sense of "the poetic
aspect of nature" (Peace and Plenty, 80) conveyed by his works.
"I paint by feeling," (Peace and Plenty, 78) Ryder once said—and it is
this feeling that is given to the viewers when they see his prints and
paintings. With the exhibition and cataloguing of his graphic works
numbering more than two hundred drypoints and lithographs in
www.raisonne.org —half a century after his death— we hope that the
subtle, stark power of his landscape scenes will be given new
relevance, and that Ryder's "wealth…[of] peace of mind" (Memories of
Chauncey and Mary Ryder) will give us some of our own.
Written and submitted by Diana Limbach and D. Roger Howlett, 2005
(Of particular interest to your audience is the appearance of the new,
free, Chauncey Ryder print raisonné at www.raisonne.org. D. Roger
Howlett, President, Childs Gallery, Boston)
About the Artist, publication unknown, from the artist's estate.
Swann, James. Text Accompaniment to "Road to Bristol." Chicago Society of Etchers,
Pisano, Ronald G., "Chauncey Foster Ryder: Peace and Plenty", Art and Antiques,
(September-October 1978), pp. 76-83.
Abbot, Elinor. "Memories of Chauncey and Mary Ryder," unpublished, from the artist's
American Tonalist landscape painter, Chauncey Foster Ryder, was born in Danbury, Connecticut in 1868. In 1891, he moved to Chicago and began his artistic training at the Art Institute and at Smith's Art Academy.
Biography from Pierce Galleries, Inc.
After moving to Paris in 1901, Ryder enrolled at the Académie Julian, where he studied under Jean-Paul Laurens and Raphael Collin. He showed at the Paris Salon for the first time in 1903. During the four years that followed, he exhibited annually at the Salon. Although Ryder maintained a studio in Paris until 1910, he returned to America in 1907 and settled in New York, where he began to show at Macbeth Galleries.
Like many of his contemporaries, Ryder traveled during the summer months. Among his favorite haunts was the artists' colony of Old Lyme, Connecticut, where he often stayed at the home of Miss Florence Griswold, a gathering place for artists working in the area. Ryder exhibited with the Lyme artists in 1910 and 1911 and was given the honor of painting one of the panels in the Griswold house dining room. During a stay in Old Lyme, he sold a painting to Mrs. Woodrow Wilson. In 1910, he established a home and studio in Wilton, New Hampshire, where he spent summers for the rest of his life. Wilton was also a base for Ryder to travel to sites in Massachusetts, Maine, and New Hampshire in search of painting subjects.
Working in the poetic vein of Tonalists such as Henry Ward Ranger and Birge Harrison, Ryder developed a style consisting of soft, blended tones, rich layered pigments, and vigorous, energetic brushwork. A contemporary art critic wrote:
"Ryder paints with a freedom and a facility which is not deterred by quibbling details. He is always lyrical and poetic in his approach, and often achieved a certain luminous quality. . . transforming a whole scene into something of other-worldly loveliness." 
Although best known for his oil paintings, Ryder was a proficient draftsman, printmaker, and watercolorist. He received numerous awards and prizes including a silver medal at the Panama-Pacific Exposition in1915, the National Academy of Design prize in 1934, and a gold medal at the Paris International Exhibition in 1937. He was named full academician of the National Academy of Design in 1920.
His works are represented in many important private and public collections including the Metropolitan Museum of Art, New York, and the Pennsylvania Academy of the Fine Arts, Philadelphia.
Lisa N. Peters
1. Florence Davies, Detroit News, quoted in Chauncey F. Ryder, N.A., 1868-1949, exh. cat. (Hingham, Mass.: Pierce Galleries), p. .
© The essay herein is the property of Spanierman Gallery, LLC and is copyrighted by Spanierman Gallery, LLC, and may not be reproduced in whole or in part without written permission from Spanierman Gallery, LLC, nor shown or communicated to anyone without due credit being given to Spanierman Gallery, LLC.
Chauncey F. Ryder (1868-1949) is an early 20th-century artist who
established his own unique style of post impressionism. He was a
painter, etcher, lithographer and illustrator who had studios in New
Haven, CT, Chicago, New York City and Wilton, NH.
Biography from The Johnson Collection
He studied at the Art Institute of Chicago (c. 1891); Smith's Art
Academy; Academie Julian, Paris with Jean Paul Laurens (1901) and with
Raphael Collins in Paris.
Ryder was an Associate (1915) and an Academician (1920) of the National
Academy and was an active member of the Salmagundi Club; National Arts
Club; Lotos Club; Allied Artists of America; American Water Color
Society; Chicago Society of Etchers and the New York Water Color Club.
His first major award came in 1907 at the Paris Salon and during his
career he won gold medals at the National Academy, American Water Color
Society, the National Arts Club; the New York Water Color Society, the
Baltimore Watercolor Society and many more. Ryder painted at Monhegan
Island, Paris, Wilton (NH), the coasts of Maine and Massachusetts, and
he painted gigantic, dynamic figural scenes of World War I throughout
Ryder is represented in the permanent collections of over 50 museums,
including the Metropolitan Museum of Art; Art Institute of Chicago;
Pennsylvania Academy of Fine Art; Baltimore Museum of Art; Corcoran
Gallery of Art; National Portrait Gallery; National Academy of Design;
Carnegie Art Institute; Museum of Modern Art and more.
In 1978 Pierce Galleries, Inc. of Hingham, MA became the sole
representatives for Ryder's daughter, and in 1979 they publised the
brochure "Chauncey F. Ryder, N.A." that accompanied a retrospective
exhibition. Ryder is primarily known for his sparsely painted
expansive landscape in which few figures appear. For Ryder,
nature reigned supreme.
Patricia Jobe Pierce
A prolific artist in many media—oil, watercolor, etching, and lithography—Chauncey Ryder grew up in New Haven, Connecticut, and demonstrated a precocious interest in art. He attended high school for only two years before leaving in 1891 for Chicago, where he studied at the Art Institute and at J. Francis Smith’s Academy. It was not until 1901 that he was able to travel abroad for more advanced instruction.
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As an art student in Paris, Ryder followed in the footsteps of countless Americans at the popular Académie Julian, where conservative tastes prevailed. Ryder also studied privately with Raphaël Collin and spent time in the atelier of Max Bohm, an expatriate American who led an art colony in Étaples on the north coast of France. Ryder’s French ouevre was decidedly academic and figurative, which explains its inclusion at the Paris Salon four times between 1903 and 1906. That last year, his submission was That Which the Sea Gives Up, for which he won a medal.
When Ryder returned to this country, he settled in New York City, but set out for more picturesque places during the summer. He was in Old Lyme, Connecticut, in 1910 and 1911, and participated fully in the art colony centered around Florence Griswold’s boardinghouse. By this time, he was a dedicated landscapist, often labeled a Tonalist because of his atmospheric effects. One contemporary critic praised his expansive aesthetic by noting that “Ryder paints with a freedom and a facility which is not deterred by quibbling details. He is always lyrical and poetic in his approach, and often achieved a certain luminous quality . . . transforming a whole scene into something of other-worldly loveliness.”
Ryder regularly exhibited at the prestigious Macbeth Gallery, an indication of his increasing success. He showed both oils and watercolors at the National Academy of Design every year between 1907 and his death in 1949, sometimes twice a year. In 1913, he was made an associate before being elected a full academician in 1920. In 1915, a painting by Ryder was awarded a silver medal at the Panama-Pacific Exposition in San Francisco. He exhibited his Whistleresque etchings with the Chicago Society of Etchers and the American Society of Etchers, and was a member of exclusive New York art organizations, including the Salmagundi Club and National Arts Club. It is estimated that Ryder produced over one thousand works over the course of his career; as a result, he is represented in the permanent collections of major museums across the country, from the Smithsonian American Art Museum and the Pennsylvania Academy of the Fine Arts to the New Mexico Museum of Art and San Diego Museum of Art.
Mountains were Ryder’s passion, and his purchase of property in Wilton, New Hampshire, provided him with stupendous views of Mount Monadnock, a site well known for its bare rock surface. He pursued other rugged scenery in New England and seems to have headed south about 1920 to explore the mountains of eastern Tennessee and western North Carolina. Because he tended to generalize details, it is difficult to pinpoint the precise locations represented in his paintings. Indicative of his lack of concern for specificity, he once said: “I paint by feeling.”
Written and submitted by Holly Watters, Collection Assistant, The Johnson Collection
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