Birds Eye View
When still in his teens, Richard created the sweep of Chesil Beach as viewed from an elevated position and in the mid 30s he painted Whitby from high above the sea. This useful tipping up of the earth’s surface served him well in the War (e.g. Air Fight over Portland) when he developed his uncanny ability to visualise a scene from an altered perspective. It serves to distribute detail more evenly and ‘democratises' the subject matter so it has equal weight, unlike the more usual perspective at ground level where near and far objects are very different sizes.
HMS Resolution Returning to Portsmouth (1941)
oil on ? - 76.2h x 127w (cm)
The Boats Were Machine-Gunned (1941)
oil on canvas - 76.6h x 101.6w (cm)
Dunkirk Beaches (1940)
oil on cardboard - 22.8h x 45.7w (cm)
Dunkirk Beach, 1940 (1940)
oil on board - 28h x 50.8w (cm)
Air Fight over Portland (1940)
oil on canvas - 76.2h x 101.9w (cm)
Withdrawal from Dunkirk, June 1940 (1940)
oil on canvas - 76.2h x 101.6w (cm)
Dunkirk 1940 (c1940)
oil on board - 26.6h x 35.5w (cm)
Antwerp (1939)
oil on canvas - 101.6h x 127w (cm)
Southampton (1938)
- 45.7h x 127w (cm)
Staithes, Yorkshire (1938)
oil on canvas - 76h x 101.3w (cm)
Chesil Beach from Portland (1936)
oil on canvas, pasted to board - 49.5h x 60w (cm)
Durgan, Helford River (1935)
oil on canvas - 51h x 61w (cm)
Coverack (c1935)
oil on ? - 40.6h x 50.8w (cm)
Heavy Weather (1934)
oil on board - 25h x 36.5w (cm)
Lulworth Cove (1934)
oil on canvas - 36h x 51w (cm)
Out of Port (1933)
oil on board - 38h x 48w (cm)
Lyme (1933)
oil on canvas - 31h x 61w (cm)
Lyme Regis (1932)
watercolour on paper - 19h x 28.5w (cm)
The Cobb and Golden Cap, Lyme Regis (1930)
oil on panel - 22.5h x 33w (cm)
Reservoir, Ilkley (1930)
pencil on paper - 17h x 26w (cm)