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Michael Richardson was born in 1943 in North London. His fathers illness forced the family to move out of London after the war ended to Ipswich in Suffolk, a particularly pleasant rural county in the South East of England also known as "Constable Country".

He was encouraged to take further art education on leaving Ipswich School in 1960 and trained at Ipswich School of Art as a sculptor and painter 1960-1962. At this time a keen interest in sailing led him into a career in the marine industry where he specialised in sail design and manufacture.

During this period he maintained his interest in painting as a hobby and returned to full time painting in 1992.

As a result of his marine industry experience he is drawn to subjects containing boats and his knowledge of the way they are designed and built lends authenticity to his marine work.

A prolific output, mainly in watercolour has found homes all over the globe, a large number of which are in America.

He has organised several overseas painting holidays for other artists in France Belgium and Holland. He has also traveled extensively painting throughout Europe, The Far East, Indonesia, New Zealand, Australia and the USA

His main current interest is in plein air painting enjoying the challenge of working fast in all weathers in front of the subject.

He is a member of the Wapping Group of Artists, probably the oldest outdoor painting society in the UK which numbers several of the most prominent British  Landscape and Marine Artists including Trevor Chamberlain, Fred Beckett, Paul Banning, Bert Wright,.Roger Dellar and Geoff Hunt





"Hastings from East Hill"

by Michael Richardson on 2/7/2010 12:43:58 PM
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This was a cold and windy experience but perhaps that helped to give the sense of height and exposure to the elements!

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"The Creek in Winter"

by Michael Richardson on 1/24/2010 8:16:51 AM
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This is another painting from a favourite harbour in Kent. In the summer it is bristling with Thames Sailing Barge masts and sprits as it is one of the few places left where they have the traditional skills to repair and restore these magnificent working ships.

In the winter they erect these polytunnels over the boats so that they can work on through the bad weather. Many of them are also the skippers homes.

For this painting I had the luxury of a whole afternoon, a long time for me but rather than do two or three sketches I wanted to really take advantage of the relatively constant light and try to produce something a little more considered so I took a little time to check the proportions and perspective and again it is a little larger than usual at 12" x 16". The palette was Raw Sienna, Raw Umber, Jaune Brillante, Cadmium Yellow, Cadmium Red, Cobalt Blue and Cerulean Blue plus Underpainting White.

A shepherd came by when the the grass was still in cadmium red underpainting and drily remarked that he had always thought grass was green and reckoned his sheep probably did as well but he thought I had got the rest of it about right! The hoofprints full of water helped to break up the mud in the foreground with little accents of reflected light.

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"Winter Mooring"

by Michael Richardson on 1/24/2010 8:08:06 AM
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TSB Gloria painted at Faversham on a grey day with more snow on the way. Her earthy colour scheme seemed to be somehow at ease with the symphony of greys in her surroundings

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"Last Light, Marshside"

by Michael Richardson on 1/4/2010 4:28:07 PM
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Dusk and the last rays of the winter sun are just skimming the snow dusted fields.

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"The Edge of the Marsh"

by Michael Richardson on 1/4/2010 4:14:49 PM
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Painting outdoors in the winter with the low sun and long shadows is a favourite time for me. The marsh gate and the water control valves make interesting foreground elements and the snow lying in the tractor tracks leads the eye through the painting.

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"Last light, Detling"

by Michael Richardson on 12/27/2009 11:06:39 AM
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I enjoyed the way the last rays of the sunset were catching the snow through a gap in the trees to the right and casting a narrow path of warmer light across the snow and tried to hold that idea as the scene darkened rapidly.

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"Across the Weald"

by Michael Richardson on 12/24/2009 9:37:12 AM
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Painted from the same spot as "Maybush Lane" but looking more to the left this painting depicts the advancing low clouds bring sleet and snow. The tracks left by the toboggans and skiers mad a nice lead-in to the composition which follows the zig zagging folds of the Kentish Weald.

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"Across the Valley from Maypole Lane"

by Michael Richardson on 12/24/2009 9:14:42 AM
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This was a dull and murky day with the threat of more snow in the air, but from this elevated position there was a nice rhythm to the folds in the land stretching away to the horizon and it made for a nice subject. The gap in the fence lets the eye travel through into the distance and the piece relies heavily on aerial perspective.

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"The Pub on the Marsh"

by Michael Richardson on 11/18/2009 3:56:48 PM
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Sometimes I wonder why I put up with all the discomfort of working en plein air. Why don't I just use photos like most people I know? They are better than ever now apparently, being digital and everything? Trouble is without the pressure to get it all done in half an hour because it is getting dark, without the easel being thrown about by the wind, without the rain squalls, without ending up nearly wearing the painting on the front of my jacket, would it really show the experience that I had on that day at that place. The answer of course is no, and that is why I do it and everyone thinks I am barking mad but I enjoy it really! Whilst this type of work is not very commercial it will probably always have a place in my own collection, and will always be able to take me back, brush stroke by brush stroke to the 16th November 2009 at 5 oclock in the afternoon!

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Hammersmith Ducks Feeding

by Michael Richardson on 11/9/2009 1:29:17 PM
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A weak morning sun lit the pink buildings in the distance and made a nice contrast with the green ironwork on Hammersmith Bridge. Ensuring that the water surface reads as flat is always difficult but more so when there are catspaws and tidal swirls breaking the refected image up. Strangely the suspension cables were clearly visible in the water, but not against the buildings! The ducks were helpful in adding some scale and interest in the sunny foreground.

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