Like Turner, whom he admired, Eurich excelled at painting water and weather. There is also a strong vein of surrealist fancy in his work. Professor Edward Chaney has suggested that this Rain Landscape, of 1980, 'could carry biblical connotations of the Flood and the Noahic Covenant' (Richard Eurich: Visionary Artist, 2003). The boundary between two realms, damp and dry, is marked by a stone wall.

A review of the Fine Art Society's 1980 Eurich retrospective, in which this was exhibited, declared that 'At his best he successfully combines the two seemingly contradictory states of dream and reality into — as André Breton defined Surrealism in his manifesto of 1924 — 'an absolute reality of surreality'.