After the success of his show of drawings at the Goupil Gallery in 1929, Richard concentrated on painting with oils and built up this set of works depicting ships, ports and the sea which were to launch his reputation as a painter.
Christopher Wood was the only one of Eurich’s contemporaries to have any obviously discernible influence on his work. They met only once, at a private view at the Goupil Gallery, a year before Wood’s death in 1930. The simple innocence of expression and the powerful immediacy of Wood’s paintings of Breton and Cornish seaports touched an immediate chord in Eurich. They showed him above all, as Eurich himself put it, how to ‘paint what he loved’, namely the sea, a subject he had hardly touched since going to art school. They taught him also how to pursue unashamedly his love of narrative incident, an important lesson at the time when abstraction and significant form were becoming the advanced dogmas of the day. Coincidentally, it was Wood’s gallery, the Redfern, which showed very successfully the series of harbour and seaport scenes which began to establish Eurich’s reputation as a painter of marine subjects during the 1930s.