Richard Yarde: Watercolors
Savoy
41.5×29.5 in
14×10 in
20×13 in
12×8 in
42×30 in
42×29 in
30×28 in
23×15 in
Press About the Savoy Project
Richard Yarde, Savoy Catalogue
1982
This is the original catalogue for the Savoy Installation in 1982, organized by The Mount Holyoke College Art Museum in South Hadley, Massachusetts, before traveling to San Diego, Baltimore, and New York.
Dancing at the Savoy at the Museum, The Evening Sun
by Gwen Ifill, 1983
“Richard Yarde’s three-dimensional exhibition, “Savoy,” brings to life images and memories of an era in the black American cultural existence that are too often blurred by time.”
by Laura Holland, 1982
“In Savoy, Richard Yarde logically extends his painterly interests – in terms of subject matter and stylistic approach – into sculptural installation.”
Mojo Hands
Press About Mojo Hand
Mojo Hand, Recent Work by Richard Yarde Catalogue
1996
“Rich in social insight and historical awareness, Yarde’s vision is nevertheless primarily experimental. In his artistic vocabulary, cultural symbols are among the elements of a complicated private dialogue in which the artist asks the work for answers about himself.”
Art in Review: ‘Mojo Hand’, New York Times
by Holland Cotter, 1997
“This exhibition by the Boston-born painter Richard Yarde pushes the watercolor medium, often used for incidental effects, in dramatic directions both in terms of scale and subject matter.”
The Valley of the Shadow, The Boston Globe
by Christine Temin, 1996
“In 1991 the artist suffered a catastrophic illness: kidney failure, which led to limited movement and loss of speech. His return to painting was slow and tortuous, his recovery incomplete. He now spends seven hours of every day in dialysis, a mechanical process cleaning the sick body that is the theme…a subject he makes cosmic rather than macabre.”
Portraits
22×30 in
20×14 in
14×10 in
14×10 in
17×11 in
42×30 in
28×37 in
Further Reading
Showing Vital Signs: the Watercolors of Richard Yarde, American Visions
by Alona M. Horn, 1998
“Richard Yarde’s work defies the concept that watercolor paintings should be small, charming rendings of landscapes or flowers. His paintings are monumental in scale, and they express poignantly personal themes, using a medium that has traditionally been described as translucent and temporal…”
Death and Transfiguration – The Art of Richard Yarde, Bostonia
by Christine Temin, 1997
“Yarde’s art is a poignant and occasionally ecstatic meditation on his life. Its hallmarks have remained constant: the patchwork grid; the dots that have been compared to those of aboriginal art, braille, and pointillism; the figure as the essential subject.”
In the Realm of the Senses: The Works of Richard Yard
Herter Art Gallery, 2012
“In a remarkably prolific career spanning five decades, Professor Yarde produced some thirty solo shows and contributed to over seventy group exhibitions. His work now resides in outstanding private collections, in many college and university collections, and in such important public venues as the Wadsworth Atheneum; the Museum of Fine Arts, Boston; the Metropolitan Museum of Art; the Museum of Fine Arts, Houston; and the Smithsonian Institution.