Susan Ryder, 1944

British painter Susan Ryder began painting professionally at an early age. Encouraged by her father, Robert Ryder VC, an enthusiastic amateur painter who imbued his daughter with a similar passion, she entered the prestigious Byam Shaw School of Art.

There, her tutor, Bernard Dunstan, introduced her to the work of the post- Impressionist Edouard Vuillard, whose gentle scenes of intimate interiors, domestic spaces and gardens in soft blurred colours proved a significant influence on her painting style and choice of subject for the rest of her career.

Sue was only 18, and still a student, when she first exhibited at the Royal Academy. Shortly after, she married Martin Bates and spent the next decade juggling the demands of her career with that of her young family, painting both interiors and portraits.

By 1981 her skills as a portrait painter were such that the Prince of Wales commissioned her to paint Diana, Princess of Wales in her wedding dress.

In the ensuing three decades her career has been a blizzard of activity.

Numerous prizes resulted in Sue being elected a member of both the New English Art Club and the Royal Society of Portrait Painters, serving the latter as Vice President from 2002-2008.

Further recognition came in 1997 with a commission to paint HM The Queen from the Royal Automobile Club, in celebration of its centenary.

Sue’s work away from portraiture has proved even more successful, to the extent that the name Susan Ryder now conjures up images of the glorious interiors and sunlit terraces for which she is so well known.

She occupies a place amongst the great names of contemporary British Impressionism as represented by the New English Art Club - a society of like-minded artists that can trace its philosophical roots from John Singer Sargent and Augustus John, through Stanley Spencer, to the present day and now includes Ken Howard, Tom Coates, Fred Cuming and Jane Corsellis.

As a leading proponent of the New English style, Sue’s paintings remain in constant demand despite the ascendency of conceptualism in the current market and other passing trends.

Her regular solo exhibitions in London invariably sell out, fuelling an increasingly strong secondary market – an indication of the sustained interest and appreciation of her work.