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Drawings

This theme encompasses drawings as set pieces rather than the 'aide memoire' type of sketch as the basis for a painting. Dad's childhood work may not have consciously been in this category but neither did they develop into paintings. He often commented on the lower status of drawing compared to painting and that no artist's reputation could rest on such work. But I think nowadays drawings are considered more important to the understanding of an artist's work than they were half a century ago. [PB]

Richard's most well known drawings are the set he produced for his solo show at the Goupil Gallery in 1929. These were " . . . designed to fill the whole surface of the paper . . . I planned the drawing in space and continued as complete a realisation over ever square inch as I was capable of . . . Perhaps  unconciously I had in mind Durer's engravings which I had admired so much . . .".  [from Richard's memoir as quoted by Caroline Krzesinska in her introduction to the catalogue for the 1979-80 Bradford retrospective touring exhibition]

Girl on Beach

Girl on Beach (1983)

pencil on paper - 24h x 17w (cm)

This is wonderfully statuesque in its simplicity. There is hardly any ‘drawing’ in it in the sense of lines which define form. The whole thing is suggested tonally. The towel held up diagonally gives a certain dynamism to the otherwise strictly vertical and horizontal shapes. Such restraint!

The Spinet

The Spinet (1929)

pencil on paper

Richard was very musical and played violin and organ. He was interested in Renaissance art which often depicted old instruments and was also the proud owner of a clavichord, very useful as a portable keyboard. There is a slightly humorous touch to this drawing. The lady is obviously enjoying the demonstration herself, but her hands don’t look as if they are playing any particular piece of music!

Standing Male Nude, back view

Standing Male Nude, back view (1925)

pencil on paper

Richard always talked about the importance of good drawing. He regarded it as a set of rules that should be learnt properly in order to know how to ignore it eventually if necessary.

Seascape

Seascape (1991)

pencil on paper

Adam and Eve

Adam and Eve (1988)

pencil on paper on board - 37h x 44w (cm)

The Large Yacht

The Large Yacht (1988)

pencil on paper - 28h x 38w (cm)

Windsurfer with Board

Windsurfer with Board (1987)

pencil on paper - 39h x 55w (cm)

Drawing 1987

Drawing 1987 (1987)

pencil on paper on board - 50h x 51w (cm)

Figures and Dog on a Beach

Figures and Dog on a Beach (1987)

pencil on paper - 39h x 55w (cm)

Father and Daughter Watching Sailing Boats

Father and Daughter Watching Sailing Boats (1987)

pencil on paper - 39.4h x 56.5w (cm)

Two Yachts

Two Yachts (1987)

pencil on paper - 39h x 55w (cm)

Bait Diggers

Bait Diggers (1987)

pencil on paper - 38.5h x 55w (cm)

Lady with a Bucket on a Beach

Lady with a Bucket on a Beach (1987)

pencil on paper - 39h x 55w (cm)

View of a Yacht

View of a Yacht (1987)

pencil on paper - 39.4h x 56.5w (cm)

Two Boats and a Bait Digger

Two Boats and a Bait Digger (1987)

pencil on paper - 39h x 55w (cm)

NO IMAGE AVAILABLE

Drawing (1984)

pencil on paper - 30.4h x 62w (cm)

NO IMAGE AVAILABLE

Seascape (c1984)

charcoal on paper - 30.5h x 40.6w (cm)

The Spit, Solent

The Spit, Solent (20th Jul 1983)

pencil on paper - 31h x 46w (cm)

Interior with Window

Interior with Window (1983)

pencil on paper - 24h x 47w (cm)

East Wind

East Wind (1983)

pencil on paper laid to board - 28h x 38.2w (cm)

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