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In April to August 2015 the Dulwich Picture Gallery in London held what it called "the first major exhibition to survey" his watercolours, with more than 80 on display. [42] [43]

In 1928 Ravilious, Bawden and Charles Mahoney painted a series of murals at Morley College in south London on which they worked for a whole year. [15] Their work was described by J. M. Richards as "sharp in detail, clean in colour, with an odd humour in their marionette-like figures" and "a striking departure from the conventions of mural painting at that time", but was destroyed by bombing in 1941. [15] [1] Rothenstein, the college's Principal, took many of these young talents under his wing, instilling in them an excitement at the possibilities that the art world might hold. In Bawden and Ravilious, both students of the college's Design School, he saw great skill and promise, and an inventive attitude towards graphic work that stood in stark contrast to the contemporary predilection for rather dreary imitations of [William] Morris designs. Ravilious' work - youthful, lively, and with a lightness that matched his character - embodied Rothenstein's desire for a more alert spirit...[with] a special interest in the application of art to craft and industry, and he encouraged his pupil to develop his eye for design. In the same decade Ravilious became engaged in a range of commercial design work, lending his eye to the world of 'arts and crafts'. In 1934 he made designs for Stuart Crystal glass, and the following year designed dining chairs and a table for the new boutique 'Dunbar Hay'. But his best known work was for Wedgwood & Sons, the mammoth ceramics producer for whom he designed the Coronation mug for Edward VIII in 1936 (altered somewhat awkwardly a year later after Edward's absconsion for George VI), alongside various tea and dinner services and commemorative ware for the Boat Race. On returning from Norway, Ravilious was posted to Portsmouth from where he painted submarine interiors at Gosport and coastal defences at Newhaven. [37] After Ravilious's third child was born in April 1941, the family moved out of Bank House to Ironbridge Farm near Shalford, Essex. The rent on this property was paid partly in cash and partly in paintings, which are among the few private works Ravilious completed during the war. [16] In October 1941 Ravilious transferred to Scotland, having spent six months based at Dover. In Scotland, Ravilious first stayed with John Nash and his wife at their cottage on the Firth of Forth and painted convoy subjects from the signal station on the Isle of May. At the Royal Naval Air Station in Dundee, Ravilious drew, and sometimes flew in, the Supermarine Walrus seaplanes based there. [36] James Russell, Ravilious: Wood Engravings (edited by Tim Mainstone), Mainstone Press, Norwich (2019); ISBN 978-0957666559The vividness of Ravilious’s situation sometimes drove him to stay up all night painting. “The seas in the Arctic Circle are the most intense blue you can imagine,” he wrote to his wife. “Almost cerulean.” The intense commitment to his work may also have been practical; a bid to make up for the loss of some of his work that was sunk in the Atlantic while on board a ship bound for a UK government propaganda exhibition in South America. “Being a war artist wasn’t a soft option,” says Alan Bennett in the film. “Painting was his active service and he gave his life for it.”

Works by Ravilious are also held by the Bristol Museum and Art Gallery, The Faringdon Collection at Buscot Park, The Ingram Collection of Modern British and Contemporary Art, The Priseman Seabrook Collection, the Wiltshire Museum and the Victoria and Albert Museum. In 2019 the British Museum displayed one Ravilious painting, an uncharacteristic painting of a house, unlike his usual style. Geraldine Bedell (7 December 2003). "Bring me the admiral's bicycle". Observer . Retrieved 1 January 2014. Ian Chilvers, ed. (1988). The Oxford Dictionary of Art. Oxford University Press. ISBN 0-19-860476-9. He also undertook glass designs for Stuart Crystal in 1934, graphic advertisements for London Transport and furniture work for Dunbar Hay in 1936. [28] Ravilious and Bawden were both active in the campaign by the Artists' International Association to support the Republican cause in the Spanish Civil War. Throughout 1938 and 1939, Ravilious spent time working in Wales, the south of France and at Aldeburgh to prepare works for his third one-man show, which was held at the Arthur Tooth & Sons Gallery in 1939. [16] Watercolour [ edit ]

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The Whitstable mine (from the 'Submarines' series)". Royal Museums Greenwich. National Maritime Museum . Retrieved 11 November 2020. Last drawing in book, twelve East Sussex Record Office: Report of the County Archivist, April 2006 to March 2007" (PDF). August 2007. Archived from the original (PDF) on 27 May 2011 . Retrieved 19 January 2009. {{ cite journal}}: Cite journal requires |journal= ( help) In Kinmonth’s documentary, other admirers of his oeuvre speak of Ravilious’s skill at capturing a moment in time. The writer Robert Macfarlane, referring to the painting Midnight Sun, which depicts a depth charge ready to be dropped into the sea, describes “classic Ravilious” as when “everything is in potencia, at once profoundly serene and profoundly disturbing”. O'Brien, Rachel (25 May 2021). " 'Missing' Eric Ravilious painting loaned to Hastings gallery". www.hastingsobserver.co.uk. Hastings Observer . Retrieved 27 May 2021. a b c Binyon, Helen (30 June 2016). Eric Ravilious: Memoir of an Artist. The Lutterworth Press. ISBN 9780718844899.