Biography
After obtaining my degree in Fine Art at Liverpool, I lectured for a short time (mainly life drawing). I then moved to Italy in 1979. This was very important as I became aware of colour and light as if they had not existed previously. Also the introduction to early Tuscan artists was an enormous discovery and influence. Now my studio is in Spain; it suits me as I prefer to work in total isolation. I did not start showing work until 1996 as before then I had not felt ready to.

Artistic Approach
The abstract in Art has a purity that I have always loved. Since I was a student I have been trying to paint abstract paintings; however, I have always worked from observation. At first I concentrated on developing my representational skills as I felt they were vital. More recently I find that to achieve my aim the world around me is the richest source of material. The physical presence of paint, and the relationships between colours and marks, are the essential elements.
All ideas are obtained by observation. Selection and the use of them are subjective decisions, though I strive for accuracy all the time.

Only landscape and still-life are my themes and sources. The introduction of the human presence in portraiture changes the discipline, to include it is a move I would not make. Lastly, I find my mind alone does not produce adequate material.

For the best art viewing experience, including priced works for sale, see Philip Richardson’s work in the main gallery

2002: Enid Lawson Gallery, London
2001: Highgate Fine Art
2001: Enid Lawson Gallery, London
2001: Cottage Gallery, Huntingdon
2000: Summer Group Show, Highgate Fine Art
1999: Woodgates Gallery, East Bergholt
1999: Enid Lawson Gallery, London
1999: Highgate Fine Art

For the best art viewing experience, including priced works for sale, see Philip Richardson’s work in the main gallery

‘Painting’ at its purest level (as opposed to ‘illustration’) is the poetic organisation of colour harmony and composition. The result is an aesthetic, an experience for our senses. The representational element is really quite unimportant though it is bound to effect our final reaction.

I am only interested in the discipline of painting through exploration of landscape and still life, I find I  need a visual input, though creating a ‘picture’ is not my primary intention.

I ask you to try to look at my paintings beyond their subject matter. It is a language of paint texture, brush marks and colour, similar to music, it is an international language.

Nevertheless I still feel accurate observation of the subject matter to be important as my source material, I strive not to distort drawing or colour, both of which are adequately rich and unusual in nature.

I am not trying to tell a narrative, shock, make any socio-political commentary or any other contemporary irrelevance that will disturb the purity of the language of painting.’

For the best art viewing experience, including priced works for sale, see Philip Richardson’s work in the main gallery