December - January 2013

johndaviesgalleryPeriod, Modern & Contemporary Art

RICHARD THORNMainly in the South West of England

On the high moorWatercolour, 16 x 26 in

Front cover: In the orchard goldAcrylic on paper, 23 x 26 in

The Old Dairy Plant . Fosseway Business Park . Stratford RoadMoreton-in-Marsh . Gloucestershire . GL56 9NQ

t: +44 (0)1608 652255 e: info@johndaviesgallery.com www.johndaviesgallery.com

johndaviesgalleryPeriod, Modern & Contemporary Art

7th December –18th January 2013Open 9 .30am – 5 .00pm Monday to Sa turday

RICHARD THORNMainly in the South West of England

An Exhibition of New Paintings

2

JD I know that a good part of this year has been taken up with a move of house from

Devon to Cornwall. This must have been quite a big thing for you, because if I remember

correctly you were born in Devon and have lived most of you life there. Not only that, but

the lush meadows and the wooded rivers and lanes of this deep and soft county have

been your main inspiration for decades. Further, you have moved well west by locating

yourself on the far side of Penzance, so you will have the benefit of one of the key factors

that has brought so many artists to settle in Cornwall, the special light. I have observed

this myself, and recognize that it is not only the proximity of the sea off one coast, but

that in the best of weather, the reflective quality intensifies the further one moves in a

westerly direction. As the peninsula narrows towards Land’s End, one has the benefit of

the reflective quality of both the coast lines. Am I right in thinking that the coves of the

south coast in particular are going to be quite a pull for you?

RT The move to Cornwall was a decision to be surrounded by the beautiful landscape and

coasts of Cornwall which has inspired me as an artist from childhood. Light does play an

important role in my work. Cornwall has that special crystal light that creates clarity and

a quality of colour that lifts the 'key' of the palette. It is, and has been, a challenge to put

those colours into my painting. The first thing I did, after moving to Cornwall was to paint

a series of small paintings, focusing on the colours of the fields and the sea.

March was particularly challenging from this point-of-view. The Cornish coastline played

a major role in my decision to move here. The vast Atlantic inspires and excites my

imagination from a poetic and an artist’s perspective. At the same time, I realised that

I missed the Devon landscape. I find myself returning there on occasion, to paint the

orchards, the moors and rolling hills that are indelibly etched into my being.

JD I think that it must have been a wrench moving away from Devon, but I can also imagine

that your relocation will bring a stimulating freshness to your career. The Atlantic in

particular comes across as being very significant to you from a poetic point of view, but I

have noted distinctly poetic roots in the titles of many of your paintings, including Devon

subjects - rivers, orchards, fields and coastline. Are some of your title quotes from poets

of the past, or are they titles that you create in a poetic idiom. Can you tell us more about

your relationship with poetry?

A conversation between Richard Thorn & John DaviesNovember 2013

Continued on page 4

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Winter nightfallWatercolour, 12 x 16 in

Winter monochromeWatercolour, 11 x 16 in

4

RT Yes it was quite a wrench away from my 'home' county, especially for a 'home-boy'

such as me. Nevertheless, Cornwall was very inviting, especially the promise of the

wonderful coastline. Titles are important (not only with my paintings but also with my

jazz compositions). I like to convey my feelings about the painting in a title that might

illicit a further response beyond the 'literal' image.

I have been known to write a little poetry on occasion, but my titles come out of my

response to my relationship with nature: everyone has 'inner poetry', and I am lucky

enough to be able to communicate my own through my painting.

JD Even so, I detect the influence of possibly 19th Century or early 20th Century poets in

your writing; Gerard Manley Hopkins, Houseman, even Laurie Lee. Who have you read

that have made the most impression on you?

RT I have to confess I don’t read a great deal of poetry, and therefore, no real influences. I

tend to find that painting and music evoke poetic ideas and images within me. Either that

or I bring my intuitive poetry to my paintings: perhaps it works both ways!

JD Well this does surprise me. As I have said, there is a distinctly poetic nature to some of

your titles, and further, the particular flavour that you deploy, which I would describe as

pleasantly melancholic, certainly giving the impression that there are some poets that you

have read. As this is not the case, it would seem that in addition to your painting and your

music, there could be a poet within you. I didn’t put that to you - have you written poetry

in the past?

To talk of your new paintings however, with the exception of the front cover illustration In

the Orchard Gold (very poetic!), including the inside front cover we have a truly delightful

series of snow scenes, which I assume date from either late 2012 or January or February

of this year. Tell us about painting snow scenes; I think that you are particularly adept at

capturing both the softness of snow, as well as the colour in snow, and I recognise that

there is so much more colour in lying snow within a scene than one might think...

RT Yes I have written some poetry in the past, all be it on an amateur level. I may do more in

the future.

Snow scenes are a favourite with me. I think we all have romantic notions of the snow:

It tends to 'silence' the world for a brief moment, and take us into another realm. Snow

tends to reduce the landscape to its fundamental forms, both in tone and colour (e.g.

Winter monochrome). These seemingly black and white shapes are so akin to drawing,

Continued on page 14

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Winter carpetWatercolour, 18 x 26 in

6

After the snowWatercolour, 13 x 17 in

7

Fox tracksWatercolour, 18 x 23 in

8

Blue creekWatercolour, 21 x 19 in

9

In the silver afternoonWatercolour, 20 x 24 in

10

River harmony Watercolour, 18 x 20 in

11

Woodland murmurMixed media, 23 x 20 in

12

Come summer and the meadows Mixed media, 23 x 31 in

13

Dream meadowWatercolour, 23 x 28 in

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of course, there is colour and detail, which is further highlighted by the 'blanket' white of the snow; a

painters dream!

JD Yes, one can perceive a lovely variation of both time of day and weather conditions observed through

these snow compositions.

Then on pages 9, 10, 11 and 21 we have some of your best examples of river scenes – In the silver

afternoon, River harmony, Woodland murmur and Summer in the shallows. I assume that these are

differing rivers, but can you talk us through them?

RT Creating a sense of 'reality' in my work has always been of primary importance. Portraying light,

atmospheres, time of day and weather conditions are paramount in conveying this 'reality'. I often receive

comments on Facebook such as 'I can feel the warmth of the sun' or even 'I can smell the sea in this

seascape'. Comments like that confirm that I have achieved (to some degree) my primary goals.

But for the Artist, it can always be improved upon. That goal, which seems forever out of reach, is what

drives me to begin another painting. This, in turn, makes me look at the world with bigger eyes, and

makes the world appear even more beautiful than before.

JD I can understand this, but can you tell us the locations of these rivers, or at least which rivers they are?

RT The rivers that draw me most are the Dart and the Avon. I was particularly attracted to the Dart at

Galmpton, Staverton and Buckfastleigh (Blue Creek, And back to Dartmouth and Summer in the shallows)

and the Avon near South Brent and Diptford (Silver afternoon and River harmony).

JD It occurs to me that once one is in the Cornish Peninsula, in other words beyond Penzance, it is difficult

to think of a river of any significant size. I suppose the springs that rise there simply do not have sufficient

distance to become anything of real substance before they reach the sea. It appears that even west of

Falmouth there is just the River Cober (and even this can be very reduced in summer) which flows through

Helston into Looe Pool, so it would seem that you will be travelling east from your new home to find fresh

river scenes!

RT Yes I think that will be the case. Even though there are plenty of rivers in Cornwall, I will no doubt, be

returning to the rivers of Devon in the future. Having said that, I will be exploring Cornwall in greater

depth in the coming year: 2013 was a year of moving and setting up the 'Bacon on the side' Restaurant

and Jazz cafe, (where I’m now able to play with the county’s top Jazz musicians)! I will, of course, be

searching out those streams and rivers.

JD All very good to hear, I must say I rather envy your opportunities. Good luck with exploring Cornwall.

© John Davies & Richard Thorn, November 2013

Continued from page 4

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Atlantic fields Watercolour, 19 x 34 in

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Little brook Gouache, 14 x 16 in

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Wood light Mixed media, 22 x 20 in

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Ode to a summer lane Watercolour, 19 x 21 in

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In the orchard gold Acrylic on paper, 23 x 26 in

20

Midday harmony Watercolour, 20 x 24 in

21

Summer in the shallows Mixed media, 18 x 29 in

22

Cross tide - Meadowfoot beachWatercolour, 19 x 20 in

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The bissons from the capeAcrylic on paper, 21 x 23 in

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And back to DartmouthWatercolour, 21 x 24 in

Coming back homeWatercolour, 22 x 28 in

25

The unquiet seaAcrylic on paper, 13 x 15 in

Tater duMixed media, 12 x 14 in

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27

BreakersMixed media, 22 x 21 in

RollercoasterWatercolour, 8 x 13 in

Endless tideWatercolour, 11 x 13 in

28

Afternoon bluesWatercolour, 14 x 17 in

Three men in a boatWatercolour, 13 x 15 in

1952 Born Torquay, Devon

1957 Started to painting during a hospital stay, aged 5

Continued to draw and paint throughout his childhood

Frequent family visits to Dartmoor and the Devon coast

encouraged the pursuit

On leaving school attended Newton Abbot School of Art

Early influences centred around the French Impressionists,

especially Cézanne, Monet, Pissarro & Gauguin

1971 Started Rock/blues/jazz career

Still plays in a Bossanova jazz quartet called “Ragged Fish”

1985 Returned to painting to establish a professional career

working in watercolour

Added influences include Winslow Homer, Edward Hopper

and Andrew Wyeth

1986 Princess Michael of Kent took a liking to one of Richard’s

paintings exhibited at the Torbay Arts Society, with which

she was presented

Began selling work to collectors and galleries

1992 First one man show in Godalming

Many subsequent mixed and solo exhibitions at nearby

locations including Fowey River Gallery, Fowey; Triton Gallery,

Torquay; Sharon Davies Gallery, Totnes; Rosemoor Gallery,

North.Devon, and further field with the Bourne Gallery,

Reigate; Panter & Hall, London and The Portuguese Embassy,

London.

Gradually introduces works in pastel and acrylic

2008 Included in a book of contemporary Devon artists published

by Hallsgrove

2009 Solo exhibition at John Davies Gallery, Moreton-in-Marsh

2010 Solo exhibition at Torre Abbey, Torquay

Solo exhibition at John Davies Gallery, Moreton-in-Marsh

Solo exhibition Alexander Gallery

2011 Group exhibition Davidson Fine Art Gallery, Totnes

2013 Salthouse Gallery, St Ives, Cornwall

John Davies Gallery, Moreton-in-Marsh

RICHARD THORN

Big skyWatercolour, 15 x 12 in

Sea glare, CornwallAcrylic on board, 12 x 10 inBack cover: Ocean light, watercolour, 23 x 23 in

Copyright © 2013 The John Davies Gallery Design: Carol Scouller Printed by Vale Press Ltd.

The Old Dairy Plant . Fosseway Business Park . Stratford RoadMoreton-in-Marsh . Gloucestershire . GL56 9NQ

t: +44 (0)1608 652255 e: info@johndaviesgallery.com

www.johndaviesgallery.com

johndaviesgalleryPeriod, Modern & Contemporary Art