Miss Richards' work is varied. She is fond of color when suited to her subject; she also works much in black and white. When representing nature she is straightforward in her rendering of its aspects and moods, but she also loves the "symbolic expression of emotion" and the so-called "allegorical subjects." The artist writes: "I simply work in the way that at the moment it seems to me fitting to work to express the thing I have in mind. Where the object of the picture is one sort of quality, I use the method that seems to me to emphasize that quality."
When but fourteen years old this artist exhibited at the National Academy, New York, a picture of waves, "The Wild Horses of the Sea," which was immediately sold and a duplicate ordered. In England Miss Richards has exhibited at the Academy, and her pictures have been selected for exhibitions in provincial galleries. Miss Richards is earnestly devoted to her art, and has in mind an end toward which she diligently strives--not to become a painter distinguished for clever mannerism, but "to attain a definite end; one which is difficult to reach and requires widely applied effort."
Judging from what she has already done at her age, one may predict her success in her chosen method. In February, 1903, Miss Richards and her father exhibited their works in the Noe Galleries. I quote a few press opinions.
[Illustration: MAY DAY AT WHITELANDS COLLEGE, CHELSEA
"Miss Richards paints the sea well; she infuses interest into her figures; she has a love of allegory; her studies in Holland and Norway are interesting. Her 'Whitby,' lighted by sunset, with figures massed in the streets in dark relief against it, is beautiful. Her 'Friends,' showing two women watching the twilight fading from the summits of a mountain range, the cedared slopes and river valley below meantime gathering blueness and shadow, is of such strength and sweetness of fancy that it affects one like a strain of music."
"Miss Richards becomes symbolic or realistic by turn. Some of her figures are creatures of the imagination, winged and iridescent, like the 'Spirit of Hope.' Again, she paints good, honest Dutchmen, loafing about the docks. Sometimes she has recourse to poetry and quotes Emerson for a title.... If technically she is not always convincing, it is apparent that the artist is doing some thinking for herself, and her endeavors are in good taste."