范公子登先生，書畫皆妙、格高氣舒、神融筆暢、規(guī)矩諳練，入神于古韻；情愫飽蘊，冥心于造化。子登先生擅行草書法，無論是單幅書法作品還是畫面題款附識，他極重氣格與性靈。作者從“二王”正脈到懷素小草、孫過庭《書譜》的悟道；從六朝碑刻到明清書風的思考，會心古法又暢情個性，將返歸先天的理性與現(xiàn)代藝術精神相融通。其書氣格沉雄豪邁，筆法精到自然，可謂風姿清健、骨氣洞達、儀態(tài)燦漫、遒勁铦利。顯意趣逸韻不失矩度之嚴，技拙樸安雅又呈流暢之美。他以自然本色建立起自己的個性王國，創(chuàng)造在一派生機中。
Mr. Fan Zideng stands out both for his painting and calligraphy works. He incorporates high taste and freshness into his works. The smooth flow of his brushes shows his command of the skills and his understanding of the classical flavor. With strong passion he plunges himself into the pursuit of art. Mr. Fan is particularly good at running script and cursive style in calligraphy, with which he shows his great talent both in calligraphy works and quotations on paintings. From his practice with the works of Wang Xizhi and Wang Xianzhi, cursive scripts by Huai-su, Essay on Calligraphy by Sun Kuo-t’ing, to his retrospect on inscriptions on the tablets, he has gained an understanding of the ancient works and found a way to express his own feelings, resulting in the integration of the reasonable return to the nature and the modern spirits in art. His calligraphy writings feature undaunted style, natural touches, giving the audience the feeling of strength, beauty and vigor. In spite of the free style, he does not turn a blind eye to the rules creation, and achieves flow through his simplicity. He has set up his own style in reflecting nature and creating a great collection of works that manifest themselves.
范先生的畫，意境特別好，是傳統(tǒng)的一種發(fā)展。他的畫機理感很強，他把它抽象化了，這是他對國畫的貢獻。他在這方面的探索就是證明，是可以寫進美術史的。 
他的抽象水墨不比趙無極、朱德群差。他的牡丹很有個性。牡丹入俗易而出雅難。如果按照“逸、神、妙、能”四品來評價范先生的牡丹，應該介于“逸”和“神”之間。畫牡丹，在這個層次上的畫家很少，這是一個修養(yǎng)問題。
Mr. Fan’s paintings are extraordinary for their conceptual significance, as a result of his developments on the tradition. The strong mechanism and abstract conception makes up his unique contribution to the Chinese painting. His research in this aspect can make a great chapter in the history of fine arts.
While his abstract ink works can rival those by Zhao Wuji and Zhu Dequn, he is at his best in drawing peony. Not affected by the general tendency to drift into conventional patterns in drawing peony, he easily stands between outstanding and miraculous if his works are examined based on the four rules of appreciation. Few artists have similar accomplishments in drawing peony. This is obviously a matter of personal quality.
范子登先生的繪畫創(chuàng)作兼收并蓄、交融中西，其文采郁郁的畫風，既切合著這個時代的一般價值取向和審美理想，也表現(xiàn)出緣自天賦才情和深厚修養(yǎng)的鮮明藝術個性。20世紀50年代以來，范子登先生一直在探索具有現(xiàn)代品格的潑墨潑彩，努力在寫意風格的繪畫中尋求內心感受和筆墨形式的統(tǒng)一，取得了令世人矚目的成就。他的寫意山水畫，筆法多變，筆風灑脫，長于營造別致的畫境。其起伏跌宕、凝重幽深的畫面，每每透著一種生動自然的韻致和清雅脫俗的氣質，不媚俗，不市儈，賞來別有興味。
The painting of Mr. Fan Zideng spans between the Chinese and Western techniques. His styles are colorful and fit the popular value and aesthetic concepts of the contemporary world. From his paintings, we can see talents and distinctive features at work. Since 1950s, Mr. Fan Zideng has engaged in the exploration of modern painting, searching for the unity of artistic feelings and expressions, and scored tremendous achievements. His landscape works excel in diversified skills, free style and the competence for novel atmosphere. The rich variances and dignified serenity in the rendition retain natural flavor and transcending manner that go beyond commercialism.
范子登先生畫追求淡逸之境，重視個人在生活中的感受。他用側鋒多，不見火燥氣，而保留著畫家心底那一份淡泊，這在20世紀下半葉是非常可貴的。中國畫是人心的藝術，它首先追求的是格，范先生在這一點上頗得中國畫的精神真髓。
In his pursuit of elegant taste, Mr. Fan Zideng places a lot emphasis on his own feelings towards life. He makes a lot uses of the brush-side technique and appears to keep the tranquility at the heart of a real artist, something not common in the second half of the 20th century. Chinese painting is an art form of the heart reflecting quality in the first place. In this rendition, Mr. Fan has grasped the true essence of Chinese painting.
范子登先生在潑墨上是一位先行者，他的畫像趙無極、朱德群一樣，很代表中國人的趣味。他畫抽象的東西，不放棄自然的意境，史學價值很高。
范先生五十年代的潑墨潑彩是很引人注意的。張大千的潑彩是流紋，先把墨潑上去，然后再收拾。而范先生的潑彩看似潑出來的，其實是用筆畫的。這雖是傳統(tǒng)的潑墨，卻是大家都不敢碰的。范先生通過“畫”，生動地表現(xiàn)了書法用筆的精神。這是范先生國畫藝術中最重要的一個環(huán)節(jié)。
Mr. Fan Zideng is a pioneer in splash-ink painting. Similar to the works of Zhao Wuji and Zhu Dequn, his creation is characteristic of Chinese taste. When doing abstract presentation, he does not let go the spontaneous overflow. Therefore, his works are ranked high in artistic value.
The slash-ink and slash-color works by Mr. Fan in 1950s were quite eye-catching. While Zhang Daqian threw ink on paper before arranging it into painting, Mr. Fan paints with brush though what he does on the paper looks very much like being splashed on. Though this is quite traditional, it is also a territory most artists fear to tread. Through his painting, Mr. Fan expresses in a vivid way the fundamental skills of calligraphy, an important stage of his art.