Richard Meyer

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"Some irregular ramblings constitute my 'Blog'.  More thoughts and observations than news, so any comments or indeed views (pro or con) of your own on anything relating to Art would be most welcome.  I hope to hear from you, either there or via the Contact page if more personal."   Richard Meyer

I came across this recently in a bundle of letters:

"First, your painting... it has as much impact on me as 'The Scream', and worried me by the probability that it really was a skull... as I haven't seen the whole painting, well I have to guess... but but but... the brushwork and the colours... wonderful... simply marvellous... I have gazed and gazed at it...

Of course, you have to remember the circumstances of your onlookers... little old ladies are determinedly squimish [sic]... and anything to remind them of how they will end up is a bit a misery making, but I remember your words on that: to beckon the man with the scythe into the house, and give him a large Scotch...

But that beautiful brushwork..." Sheila Davies (see painting The retired pharmacist)

  NB. This was  written in 2003, and not about the painting below!

 
The Endless Ballad (in Latest Work)

Richard Meyer

Paintings, Drawings and Pastels

Richard Meyer, for a painter, has a somewhat strange and elusive background (see Biography).  He has a PhD in ecology from Glasgow University, and believes that this and his background in wild animal care has imbued his paintings with an earnest knowledge of nature and animal / human behaviour. 

He learned line-drawing to illustrate his writings until a passion for Fine Art finally overtook the restrictions of illustration.  He began as a teenager under Sir Peter Scott at The Wildfowl Trust, Slimbridge, Gloucestershire, since writing 12 books and >100 articles and scientific papers.

But despite all that, Richard believes a personal and visual response to nature has lurked in our DNA since we lived in caves; Picasso, no less, said "None of us can paint like that any more."  We can but try.

Thus Portraits, Landscapes, Still-lifes and Figurework - rich in texture (see Methods) - leach out of a North Devon studio set, appropriately enough, slap between wild Exmoor and manipulated farmland.  Work is founded on reality - ‘objects interrupting light’ - abstracting psychological sexual energy from nature (which includes the human form of course).  Sometimes they merge, as in Figurescapes. Always, in the beginning Life drawing provides necessary rigour and discipline. 

One critic said “Richard Meyer’s paintings are vibrant and expressionistic, emerging from the margins of an eternal triangle, where Civilization meets Nature - meets Man - meets Woman."

And as Frances Fyfield, the crime writer, said “Richard can muck out the stables of an elephant!”  [Yes, I can and have, also Rhinos and Zebra and many other things including small children].

Work is separated into 14 Galleries - examples below. Click on image to go to the respective gallery. New visitors might wish to begin at Latest Work. 

                                               Click example here on the right >>>>>

Other principal gallery 'rooms' are below >>>

Meyer, Beyond the turbines blooming

Landscapes

Meyer, Range of trees in a Cornish hedge, windy day

Still Life

Meyer, Crysanthemums in a Paul Jackson vase

Pastels

Meyer, Towards Stepper Point, N. Cornwall

Figurework

Meyer, Model with arms raised, removing top preparing to pose

Portraits

Meyer, Profile left

Line Drawings

Meyer, AC drawing #18

News and Exhibitions

New Exhibition: The first of two solo shows, The Structured Landscape, is at The Plough Art Centre, Torrington, January 13-29th; preview 13th 7-9pm - come and enjoy a glass of wine if not the paintings. The second  exhibition is planned for summer next year and may well be called The Structured Body... we'll see.

In London, Richard's paintings are handled by Celia Purcell (Celia Purcell Contemporary) outside of formal exhibitions. See Celia's website or telephone 020 7624 1477 for viewings and directions etc.

Paintings may also be seen in or through some local galleries: Little Gallery, Shebbear, Salar Gallery, Hatherleigh, Camelford Gallery,  Outlines, Chumleigh and  Lynda Powney's new King's Acre Gallery currently being established near Camelford ; if not hanging at time of visit please enquire for viewing options etc.

Workshops.  Richard is available for day or half-day workshops focussed on textural painting with knives and implements other than brushes.  If you are interested in organising one of these for yourself or a group please use the enquiry form for more details and charges (ca. £100 for a day).