Colour
Richard tended to keep to a palette of “earth” colours: umbers, ochres, siennas etc except with the sea where greys and blues predominate. He experimented with greens but found them difficult to handle. But at periods throughout his life he was beguiled by fierce reds and violets. He loved flowers of the brighter sort: dahlias, sunflowers, nasturtiums and dark red roses but on occasions these colours could take over in landscapes and seascapes as well. The 60s has the highest representation of these wild colours and freedom of paint, when he was obviously feeling the urge to move on from his tighter narrative compositions.
The Argument (1983)
oil on board - 30.5h x 26w (cm)
Spring in the Noads (1983)
oil on board - 30.5h x 40w (cm)
Green Glade (1983)
oil on board - 60h x 60w (cm)
The Last of the Guy (1983)
oil on board - 61h x 61w (cm)
Morning, The Bedroom (1983)
oil on board - 14.5h x 31w (cm)
Evergreen (c1983)
oil on board - 46h x 61w (cm)
Farewell (1982)
oil on panel - 15h x 22.5w (cm)
Autumn New Forest (1981)
oil on board - 33h x 52w (cm)
Deep Blue Sea (1981)
oil on board - 22h x 38w (cm)
Listening Girl (1981)
oil on card - 15h x 17w (cm)
Cowes Week (1980)
oil on board - 28.5h x 44.5w (cm)
Penelope (1980)
oil on board - 22.5h x 30.5w (cm)
Sunrise, Frosty Morning (1979)
oil on board - 21h x 28w (cm)
Road Down to the Sea (c1970)
oil on board - 20h x 30.5w (cm)
Romantic Landscape (1969)
oil on canvas - 60.5h x 90w (cm)
The Tram to Haworth ([date unknown])
oil on board - 46h x 60w (cm)
Sun Rising through Mist, Southampton Water (1967)
oil on canvas laid on board - 45.1h x 58.4w (cm)
Early Morning, Seahouses (1967)
oil on board - 40.5h x 50.5w (cm)
The Delectable Mountains, Penrith (1966)
oil on board - 69h x 119w (cm)
On the Beach (1966)
oil on board - 44.4h x 81.3w (cm)