Born in 1949, Richard Zuming Ho's early years were spent in Shanghai, China, where his emerging talent was encouraged by members of his artistic family. Ho's study of the world of art was quite divergent and complete. He devoted himself to the study of drawing, still lifes in watercolor, landscape and figure painting in the "western" style, as well as traditional Chinese paintings. In addition, he studied calligraphy and seal cutting. In those years, as was the case with most intellectual families, Ho's parents just wanted him to study painting only as a hobby, preferring their son to be a scientist rather than an artist.
"The Cultural Revolution" which swept China in 1966 stole Richard Ho's hope of a higher education in science and technology. Though sent to do forced labor as a highway worker by the government, during those dark ages, he often brought a sketch book and small oil painting box with him, continuously practicing his painting techniques. He clinged to his hope that someday he could enrich the world with his art. As the political climate moderated with the end of the Cultural Revolution, he eventually realized his cherished goal of a formal education, and he graduated from the university with distinction. In the years that followed, Ho exhibited his works throughout his country and was honored as a member of the Chinese Art Association and was named vice chancellor of China's Jia Zhou Institute of Painting.
In October 1987, Ho was accepted to an American university which allowed him entry into the United States. As a foreign student, he began to exhibit his work in Los Angeles, then throughout California, soon after nationwide and then internationally.
Today, Richard Ho is a well-known figurative impressionist who was profoundly influenced by the French Masters, such as Degas, Manet, and Renoir, and American masters such as Sargent and Whistler. Ho uses vivid color and a gentle touch to portray imaginary scenes of musicians, ballerinas, writers and poets. He captures a moment and creates a splendid ambience on canvas that bonds with the viewer.
In the vein of romantic impressionism, his work is traditional in both concept and technique; subtle facial expressions, elegant postures, varied compositions, rich textures and inviting hues. Ho portrays a tenderness and intimacy in his subjects. As an easel painter, this artist strives to create paintings with a spiritual quality; an expression of a "fine poem,