Lizzie Riches
Lizzie Riches is a portrait artist who grew up near the ancient oaks of Epping Forest, which gave her an enduring love for the natural world. Her other passion, for Elizabethan portraiture, began aged five and has continued all her life.
Lizzie’s painting for Spring 25 is simply called ‘Violet’ - an enigmatic figure clothed in flowers, gazing out from amid springtime trees. The bird is a Jenny Wren and the butterfly a Meadow Brown.
How would you describe your work?
My paintings are a mash up between subjects that really fascinate me. I don’t feel I belong to any fashion or art movement. I paint what I love.
First thoughts when Ffern approached you about responding to a fragrance?
Our senses are what connects us to the world. Obviously sight is the sense that’s most in play with painting, but I enjoy describing all the senses. I try to evoke the sense of smell through symbolism and subject matter.
How did you approach painting ‘Violet’?
I have a very vivid memory of buying bunches of delicately scented violets when I was a child. I loved the tight little dew-soaked bunches of deep green leaves and velvety purple blossoms nestled within.
I also remember them growing along the hedge banks in Cornwall among the primroses, every Spring, accompanied by the songs of thrushes, blackbirds and wrens. I suppose you could say they were a delight to all the senses.
I have some studies of violets in my sketchbooks which I was able to reference and those proved useful, especially some white violets which I knew I wanted to include. They are so ethereal.
Can you tell us about your interest in Elizabethan and Tudor portraiture?
I became fascinated by Tudor and Elizabethan portraits when I visited Hatfield House as a little girl. The way pearls were painted especially intrigued me as it seemed as if the artist had entrapped the light in them.
The subjects in your portraits are often wearing elaborate costumes - do these carry a special symbolism?
The Elizabethans used costume as a way of showing their status and political power. For instance there are often classical Greek references to show their learning, monkeys and parrots to show they knew about discoveries in the New World. I use references to the natural world as a way of expressing something about the subject, too.
I remember violets growing along the hedgerows in Cornwall among the primroses, every spring - accompanied by the songs of thrushes, blackbirds and wrens.
Where else do you find your inspiration?
I collect textiles and antiques which are often the starting point. I’ve always loved looking at art but do not want to be so influenced by other artists that I lose my own style. The natural world of course is a major source of inspiration.
What is the best advice you could pass on?
Always be your own worst critic.
Photography by Aloha Bonser-Shaw.