In 1968, Richelet was awarded the First Grand Prix of the Casa de Velázquez, Madrid in the etching category.

Following the tradition of Caravaggio, or of Georges de La Tour in his Saint Jérôme pénitent, he uses dark backgrounds to make livid and pallid flesh of tense, hunched up bodies stand out.

This apophthegm haunts many works of Richelet, where his obsession with sex and death is expressed by a parallel between impotence and incapacity to create.

One can be surprised, in some of his canvases, by the warm vermilion of a drape, a borrowing which would not have been renounced by the two old masters he so admired.

[4] Energetic lines in Richelet's paintings, drawings, and etchings oddly bring corpses, broken and mutilated in their physical beauty, on the verge of death.