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Catalogue

catalogue
introduction -
list of works

 

 curatorial essay
by Roger Boulet

 the early works

 the artist remembers
Europe

   images of works in the exhibition

 

 
information/details
on exhibitions

 

 

 complete list of exhibitions, go to CV

 
 

 images of works
in the exhibition
.... link to the
images below

 

 

 

1. Woman Eating an Apple 1960  

 

2. Crucifixion 1960

 

3. Pietà 1960

 

4. Figure #3 1961

 

5. Figure #3 1961

6. Hommage to Gorky
1961
  

 

 7. Figure #4 1961

 

 

 8. [Untitled] c. 1962

 

9. [Untitled] 2 1961

 

 

10. [Untitled] c. 1962 

 

 11. Anatomy Study IV c. 1963

 

 

12. [Untitled] XI 63 011 Feb.  

 

 

13. Aggressive Idol Oct 1962

 

14. Anatomy of an Amorous Object 1963 

 

 

15. [Untitled] VI Big Red Feb. 1963 

 

 16. Red Seductress Feb. 1963

 
 

 17. [Untitled] VII Feb. 63 006 1963

 

18. [Untitled - Figure 27] Oct. 1963 

 

 

 19. Anatomy of a Bird Jan. 1965

 

 

 20. Red Riding Wolf 1964-65

 

 

 21. The Socialite 1964-65

 
 
 

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 The London Paintings 1960-64
exhibition at the
Art Gallery of the South Okanagan

(now Penticton Art Gallery)

February 23 - April 7, 1996

Curator -
Roger Boulet
 

 The Art Gallery of the South Okanagan
published a 20 page catalogue for the exhibition
 

link to these pages at Penticton Art Gallery


The Catalogue

The Art Gallery of the South Okanagan is very pleased to organize an exhibition of earlier work by Richard Reid. The exhibition that had originally been planned was to have focused on the artist's more recent work. When I began working on the project however, in an effort to discover the origins of the new figurative work in the artist's development, I was afforded a glimpse at some of his earliest work. Although I have known Richard Reid for more than 10 years, and had seen some of these works at his home, it was not until a visit to his Grand Forks studio that these works began to be pulled out of the storage racks. It soon became evident that here was a group of paintings representing the artist's first important body of work. It also demonstrated that his interest in the figure has been with him since his days at art school.

Many living artists resist the idea of an exhibition featuring work they have done long ago rather than what they are currently doing. Fortunately, Richard Reid had no such reservations and thought this foray into the past would be of interest to him as well.

The result is this exhibition. I am very grateful to the artist for his interest and assistance in organizing this exhibition, and this publication, as well as to Beverley Reid whose memory of this time in London has also been of great help in reconstructing a chronology of events that influenced this work, directly and indirectly.

Roger H. Boulet
Director and Curator

 



1. The London Paintings, 1960-61

The earliest of the London paintings are characterized by a darker palette and a figurative element stands out against a dark background. A darker palette generally prevails in all of these works. Reid mentions how he was profoundly moved by the work of El Greco at the Prado in Madrid, which he had visited earlier in 1960. The figurative element, which continued to inform so much of British and European modernism, was re-enforced by the environment, and the works pay hommage to the great European traiditons. The titles given to some of these works, such as Pietà and Crucifixion, indicate how Reid had absorbed some of the great subjects of the figurative tradition in European art.

It was no coincidence that such near-abstract works were also informed by American Abstract Expressionism. There, Reid was far more taken by the work of Arshile Gorky than by the work of Jackson Pollock. The work of Philip Guston is also mentioned as was the work of Joan Mitchell.




 1. Woman Eating an Apple 1960
oil on canvas
89 x 39.5 cm
The earliest of the London Paintings relates directly to the earlier work that Reid had done in Mexico in 1957, where he began to explore Modernism through what he perceived as its real beginnings: Cubism. One is also tempted to relate this work to the many paintings by Old Masters of Eve eating the apple. Reid's exploration of the female figure in this series often relates to temptation in titles such as Red Seductress.
 
 

  2. Crucifixion 1960
oil on canvas
84.5 x 59.5 cm
Both this work and the Pietà may relate to the compositions of these traditional subjects. The references are not precise or obvious. Reid's inspiration here was the tradition of European art and his memory of such works.

 

 3. Pietà 1960
oil on canvas
84.5 x 59.5 cm
A composition based on a triangle which might include the huddled figures traditionally seen in a 'deposition' painting, where Christ is taken down from the cross.
 
 
 
 
 4. [Untitled] Figure #3 Nov. 1961
oil on canvas
59 x 85 cm (61 004)
With this work, Reid began his exploration of the figure, usually reclining and set against a dark background.
 
 
 
 5. Figure #3 1961 (#5 in Reid list)
oil on canvas
58.5 x 84 cm (61 004)
 
 
 
 
 6. Hommage to Gorky 1961
oil on canvas
88.5 x 104.5 cm
 
 
 
 
 
 
 7. Figure #4 1961
oil on canvas
88.5 x 104.5 cm
 
 
 
 
 
 8. [Untitled] 1961
oil on canvas
152.5 x 106.5 cm (61 010)
 
 
 
 
 
 
9. [Untitled] 1961
oil on canvas
105 x 149 cm (61 003)
 
 
 
 
 
 2. The London Paintings of 1962 to 1964
 
 10. [Untitled] c. 1962
oil on canvas
85 x 59.5 cm (62 0202)
From 1962, Reid's work took on a more sensuous quality. The predominance of red in these works is accompanied by calligraphic gestures which echo the figure, but the presence of the figure is suggested rather than represented in a literal way.
 
 
 
 11. Anatomy Study IV c. 1963
oil on paper
50.5 x 76 cm (63 001)
 
 
 
 
 
 
 12. Anatomy Study V c. 1963
oil on paper
76 x 50.5 cm (63 0102) (conflicting entry - image is 63 011 Untitled XI)
 
 
 
 
 
 
 13. Aggressive Idol Oct 1962
oil on canvas
147.5 x 118.5 cm (62 001)
 
 
 
 
 
 
 
 14. Anatomy of an Amorous Object Jan. 1963
oil on canvas
106 x 152.5 cm (63 003)
The work was shown at National Gallery's 5th Biennale of Canadian Art in Ottawa. The exhibition later travelled to Great Britain where it was shown in the Gallery of the Commonwealth Institute.
 
 15. [Untitled] VI Feb. 1963
oil on canvas
152.5 x 107 cm (63 004)
 
 
 
 
 
 
 
 16. Red Seductress Feb. 1963
dyptich - oil on canvas
152.5 x 213 cm (63 002)
 
 
 
 
 
 17. [Untitled] Oct. 1963
oil on canvas
152.5 x 107 cm (63 006)
During the summer of 1963, Reid spent 8 weeks in Salzburg, Austria, where he attended courses given by Oskar Kokoschka.  This gave access to a model for 7 or 8 hours a day, and the result was 575 watercolour drawings.  Before leaving Austria, however, many of these drawings were destroyed.  The experience of working with the figure again seemed to solidify some of Reid's own directions.  In the fall, the Reids went to to a château at Ravenel in the north of France, where he began to work on his paintings.  The Reids returned to London later that year.
 
 18. [Untitled - Figure 27] Oct. 1963
oil on canvas
107 x 152.5 cm (63 1007)
 
 
 
 
 
19. Anatomy of a Bird Jan. 1965
oil on canvas
153 x 86.5 cm (65 001)
The painting was started in London in 1964 and completed in Canada in early 1965. It was included in the Painting '66 exhibition at the Vancouver Art Gallery in 1966.
 
 
 
 
 
 20. Red Riding Wolf 1964-65
oil on linen
112 x 86 cm (64 0102)
 
 
 
 
 
 
 
 21. The Socialite 1964-65
oil on linen
86 x 61 cm (64 0103)
 
 
 
 
 
 


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