Henry Gray's father, a wealthy merchant, encouraged him to pursue his interest in art. His first art study was at Hamilton College in Clinton, New York, shortly after Daniel Huntington had been enrolled there. It is likely that Gray made some connection with the painter, for in 1838 he became Huntington's student in New York. That same year two of his works were accepted for the Academy's annual exhibition. In 1839 he went to Europe with Huntington and Cornelius Ver Bryck. He remained abroad for two years, studying the works of the Old Masters in Florence and Rome. Upon returning to New York in 1841, Gray established himself as a portrait painter and won instant recognition for his talents. In 1843 he married Susan Clark, also an artist, and in 1845 they went to Italy for a year.
Gray's early admiration for Washington Allston led him likewise to emulate the Venetian Renaissance masters-in compositional models, colorism, and in his choice of grand subjects from mythology, history, and, occasionally, religious and moral themes. (Among his prized possessions was a large copy of Titian's Venus of Urbino, which he believed to be a replica. His widow presented this work to the Academy, and it remains in the collection.) Although he continued to receive numerous commissions for portraits, Gray's work in historical painting enjoyed the considerable success that had eluded the previous generation of American artists.
Gray's apparent devotion to the Academy as an institution, combined with his attainment of the academic ideal in his art, quickly raised him to a position of leadership among his peers. He served as a member of the Council in 1845-46, 1848-49, 1854-55 (although he was absent from New York City for part of that year), 1855-56, 1857-58, and 1859-61. In 1861 he began nine years of service as vice-president of the Academy under the presidency of Huntington. He then succeeded Huntington, serving two terms as president. He was chairman of the committee that, in 1863, instituted the Academy's Fellowship Fund. Through the diligence of Gray and others in securing subscribers to the fund, sufficient capital was raised to build the Venetian Gothic edifice at Twenty-third Street and Fourth Avenue that served as the Academy's home from 1865 to 1900. During 1867-70 and 1875-76, critical years for the Academy school, Gray served as a Visitor.
In 1871 Gray, in poor health, returned to Florence. The change of climate was reported to have restored him rapidly. Ever a prolific artist, he produced numerous compositions during the four years he remained there. He spent the last two years of his life in New York. The eulogy read into Council minutes, while recognizing the fine qualities of the man, dwelled upon Gray's adherence to the model of the Venetian colorist painters:
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We recall with satisfaction the many noble portraits and compositions of rare beauty with which he has enriched American art, and dwell with a sad pleasure on the years when his courage, enthusiasm, and warm affections gave tone to Society. His philanthropic mind, combining with a passionate love of color and reverence for the great masters of the past led him to a profound study and mastery of the principles of Venetian painters.
His principal works worthily illustrate the theories which gave such luminous depth, warmth, and harmony to the productions of the school and should be treated not only for their own intrinsic force and beauty, but as reflecting the technical method of a great group of colorists whose practice established the principles on which all good coloring depends.
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