Mary Reynolds


Harry Becker’s move from London to Suffolk, in all probability, freed him from his struggle with rejection and enabled him to play his part in British art history. It brought peace, grace and dignity to his reputation in the world which might have appeared to be unobtainable at the time.

A ‘vital angularity’ of light and form draws the viewer to Harry Becker’s work in an instant, acquired by many hours of observation in the field. Then with a flurry of activity in the foreground my attention is drawn to the people and their animals. These dual elements attract me to his style and practice.