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]
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.
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!
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!