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Making Their Mark 17
Making Their Mark 17 A CELEBRATION OF GREAT WOMEN ARTISTS Susan Mary "Lily" Yeats, in a 1901 portrait by Photograph of Susan Mary "Lily" Yeats (left) and Elizabeth Corbet "Lolly" Yeats (right). Elizabeth Corbet "Lolly" Yeats, in an 1887 Jack Butler Yeats. National Gallery of Ireland. portrait by Jack Butler Yeats. Sisters Susan Mary "Lily" Yeats (1866-1949, above, left) and Elizabeth Corbet "Lolly" Yeats (1868-1940, above, right) were pivotal figures in the advancement of the Arts and Crafts style in Ireland. Founded in England by the British designer William Morris, the Arts and Crafts Movement advocated traditional, handcrafted objects as a rebellion against soulless factory-made furnishings. The Yeats sisters were from a preeminent Irish family--their father John and brother Jack were noted painters, and their other brother was the renowned poet William Butler Yeats. Born in Enniscrone, County Sligo, Ireland, Lily Yeats was a frequent visitor to William Morris when her family moved to London in the 1870s; she would learn embroidery from his daughter, May Morris. Younger sister Lolly Yeats, also in the Morris circle, was more interested in painting and printing; by the end of the century she had written and illustrated four instructional books on sketching directly with a brush. Upon returning to Ireland, both sisters would co-found the Dun Emer Guild, a Arts and Crafts group in Dublin managed and staffed entirely by women, with the textile designer Evelyn Gleeson (1855-1944). Guilds, as opposed to factories, were a return to the Medieval and Renaissance guilds that once served as the primary centers of art production. -
Jack B. Yeats
JACK B. YEATS Biography 1871 August 29, Jack Butler Yeats born at 23 Fitzroy Road, London, son of John Butler Yeats, artist, and Susan Pollexfen of Sligo 1879 Went to Sligo to live with his grandparents, William and Elizabeth Pollexfen. He went to school there, and stayed with them until 1887 1887 Rejoined his family in London in order to attend art school. His grandmother was strongly in favour of him following a career as an artist. Attended classes at South Kensington School of Art, Chiswick School of Art, Westminster School of Art. Season ticket for the American Exhibition at Earls Court, starring Buffalo Bill 1888 First black and white illustrations accepted for publication in The Vegetarian in April 1891 Illustrating for Ariel and Paddock Life . First book illustrations 1892 Designing posters for David Allen & Sons in Manchester. Illustrated Irish Fairy Tales by his brother W.B.Yeats 1894 Staff Artist on Lika Joko. In August he married Mary Cottenham White, who had been a student with him in Chiswick, and was eight years older that Jack. They rented a house called 'The Chestnuts' on the River Thames, at Chertsey 1895 First exhibited at the Royal Hibernian Academy in Dublin, a watercolour called Strand Races, West of Ireland 1897 Moved to Strete, Devon to live at 'Snail's Castle' (Cashlauna Shelmiddy). Began to concentrate on watercolour painting. Painted his first oil. First one-man show of watercolours in November, at the Clifford Gallery, Haymarket 1898 Jack and Cottie visited Northern Italy, on what seems to have been a belated honeymoon, combined with a celebration of the success of his first solo exhibition the previous year. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
The Political Aspect of Yeats's Plays
University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1-1-1969 The unlucky country: The political aspect of Yeats's plays. Dorothy Farmiloe University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Farmiloe, Dorothy, "The unlucky country: The political aspect of Yeats's plays." (1969). Electronic Theses and Dissertations. 6561. https://scholar.uwindsor.ca/etd/6561 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. THE UNLUCKY COUNTRY: THE POLITICAL ASPECT OF YEATS'S PLAYS BY DOROTHY FARMILOB A Thesis Submitted to the Faculty of Graduate Studies through the Department of English in Partial Fulfilment of the Requir^ents for the Degree of Master of Arts at the University of Windsor Windsor, Ontario 1969 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: EC52744 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
W. B. Yeats Selected Poems
W. B. Yeats Selected Poems Compiled by Emma Laybourn 2018 This is a free ebook from www.englishliteratureebooks.com It may be shared or copied for any non-commercial purpose. It may not be sold. Cover picture shows Ben Bulben, County Sligo, Ireland. Contents To return to the Contents list at any time, click on the arrow ↑ before each poem. Introduction From The Wanderings of Oisin and other poems (1889) The Song of the Happy Shepherd The Indian upon God The Indian to his Love The Stolen Child Down by the Salley Gardens The Ballad of Moll Magee The Wanderings of Oisin (extracts) From The Rose (1893) To the Rose upon the Rood of Time Fergus and the Druid The Rose of the World The Rose of Battle A Faery Song The Lake Isle of Innisfree The Sorrow of Love When You are Old Who goes with Fergus? The Man who dreamed of Faeryland The Ballad of Father Gilligan The Two Trees From The Wind Among the Reeds (1899) The Lover tells of the Rose in his Heart The Host of the Air The Unappeasable Host The Song of Wandering Aengus The Lover mourns for the Loss of Love He mourns for the Change that has come upon Him and his Beloved, and longs for the End of the World He remembers Forgotten Beauty The Cap and Bells The Valley of the Black Pig The Secret Rose The Travail of Passion The Poet pleads with the Elemental Powers He wishes his Beloved were Dead He wishes for the Cloths of Heaven From In the Seven Woods (1904) In the Seven Woods The Folly of being Comforted Never Give All the Heart The Withering of the Boughs Adam’s Curse Red Hanrahan’s Song about Ireland -
The Life and Works of Beatrice Elvery, 1881-1920
Nationalism, Motherhood, and Activism: The Life and Works of Beatrice Elvery, 1881-1920 Melissa S. Bowen A Thesis Submitted to the Department of History California State University Bakersfield In Partial Fulfillment of the Requirements for the Degree of Master of Arts in History May 2015 Copyright By Melissa S. Bowen 2015 Acknowledgments I am incredibly grateful for the encouragement and support of Cal State Bakersfield’s History Department faculty, who as a group worked closely with me in preparing me for this fruitful endeavor. I am most grateful to my advisor, Cliona Murphy, whose positive enthusiasm, never- ending generosity, and infinite wisdom on Irish History made this project worthwhile and enjoyable. I would not have been able to put as much primary research into this project as I did without the generous scholarship awarded to me by Cal State Bakersfield’s GRASP office, which allowed me to travel to Ireland and study Beatrice Elvery’s work first hand. I am also grateful to the scholars and professionals who helped me with my research such as Dr. Stephanie Rains, Dr. Nicola Gordon Bowe, and Rector John Tanner. Lastly, my research would not nearly have been as extensive if it were not for my hosts while in Ireland, Brian Murphy, Miriam O’Brien, and Angela Lawlor, who all welcomed me into their homes, filled me with delicious Irish food, and guided me throughout the country during my entire trip. List of Illustrations Sheppard, Oliver. 1908. Roisin Dua. St. Stephen's Green, Dublin. 2 Orpen, R.C. 1908. 1909 Seal. The Royal Institute of the Architects of Ireland, Dublin. -
W. B. Yeat's Presence in James Joyce's a Portrait of The
udc 821.111-31.09 Joyce J. doi 10.18485/bells.2015.7.1 Michael McAteer Pázmány Péter Catholic University, Budapest, Hungary W. B. YEAT’S PRESENCE IN JAMES JOYCE’S A PORTRAIT OF THE ARTIST AS A YOUNG MAN Abstract In the context of scholarly re-evaluations of James Joyce’s relation to the literary revival in Ireland at the start of the twentieth century, this essay examines the significance of W.B. Yeats to A Portrait of the Artist as a Young Man. It traces some of the debates around Celtic and Irish identity within the literary revival as a context for understanding the pre-occupations evident in Joyce’s novel, noting the significance of Yeats’s mysticism to the protagonist of Stephen Hero, and its persistence in A Portrait of the Artist as a Young Man later. The essay considers the theme of flight in relation to the poetry volume that is addressed directly in the novel, Yeats’s 1899 collection, The Wind Among the Reeds. In the process, the influence of Yeats’s thought and style is observed both in Stephen Dedalus’s forms of expression and in the means through which Joyce conveys them. Particular attention is drawn to the notion of enchantment in the novel, and its relation to the literature of the Irish Revival. The later part of the essay turns to the 1899 performance of Yeats’s play, The Countess Cathleen, at the Antient Concert Rooms in Dublin, and Joyce’s memory of the performance as represented through Stephen towards the end of the novel. -
2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening. -
Yeats As Precursor Readings in Irish, British And
Yeats as Precursor Readings in Irish, British and American Poetry Steven Matthews Yeats as Precursor Copyright material from www.palgraveconnect.com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-18 - PalgraveConnect Tromso i - licensed to Universitetsbiblioteket www.palgraveconnect.com material from Copyright 10.1057/9780230599482 - Yeats as Precursor, Steven Matthews Also by Steven Matthews IRISH POETRY: Politics, History, Negotiation LES MURRAY (forthcoming) REWRITING THE THIRTIES: Modernism and After (co-editor with Keith Williams) Copyright material from www.palgraveconnect.com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-18 - PalgraveConnect Tromso i - licensed to Universitetsbiblioteket www.palgraveconnect.com material from Copyright 10.1057/9780230599482 - Yeats as Precursor, Steven Matthews Yeats as Precursor Readings in Irish, British and American Poetry Steven Matthews Copyright material from www.palgraveconnect.com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-18 - PalgraveConnect Tromso i - licensed to Universitetsbiblioteket www.palgraveconnect.com material from Copyright 10.1057/9780230599482 - Yeats as Precursor, Steven Matthews First published in Great Britain 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world A catalogue record for this book is available from the British Library. ISBN 0–333–71147–5 First published in the United States of America 2000 by ST. MARTIN’S PRESS, INC., Scholarly and Reference Division, 175 Fifth Avenue, New York, N.Y. 10010 ISBN 0–312–22930–5 Library of Congress Cataloging-in-Publication Data Matthews, Steven, 1961– Yeats as precursor : readings in Irish, British, and American poetry / Steven Matthews. p. cm. Includes bibliographical references and index. ISBN 0–312–22930–5 1. -
Maeterlinck's Pelléas Et Mélisande and Yeats's the Countess Cathleen
International Yeats Studies Volume 2 Issue 1 Article 2 November 2017 Music, Setting, Voice: Maeterlinck's Pelléas et Mélisande and Yeats's The Countess Cathleen Michael McAteer Follow this and additional works at: https://tigerprints.clemson.edu/iys Recommended Citation McAteer, Michael (2017) "Music, Setting, Voice: Maeterlinck's Pelléas et Mélisande and Yeats's The Countess Cathleen," International Yeats Studies: Vol. 2 : Iss. 1 , Article 2. DOI: https://doi.org/10.34068/IYS.02.01.01 Available at: https://tigerprints.clemson.edu/iys/vol2/iss1/2 This Article is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in International Yeats Studies by an authorized editor of TigerPrints. For more information, please contact [email protected]. Music, Setting, Voice: Maeterlinck’s Pelléas et Mélisande and Yeats’s The Countess Cathleen Michael McAteer aurice Maeterlinck’s Le trésor des humbles (1896) was first translated into English by Alfred Sutro in 1897 as The Treasure of the Humble. In one of the essays included in this volume, “The Awakening of the MSoul,” Maeterlinck writes of the arrival of a new spiritual epoch in his time, one in which the soul “in obedience to unknown laws, seems to rise to the very surface of humanity.”1 Later in the same essay, he observes this new moment in a transformation of the nature of silence itself, one he judges “strange and inexplicable.”2 As Katharine Worth has observed, Arthur Symons believed that Maeterlinck’s art itself had “come nearer that any other art to being the voice of silence.”3 In his review of The Treasure of the Humble for The Bookman in July 1897, Yeats felt that while Maeterlinck’s thought “lacks the definiteness of the great mystics,” still his book “shows us common arts and things, with the light of the great mystics, and a new light that was not theirs, beating upon them” (CW9 341). -
The Influence of Hindu, Buddhist, and Musldi Thought on Yeats' S Poetry
THE INFLUENCE OF HINDU, BUDDHIST, AND MUSLDI THOUGHT ON YEATS' S POETRY by SHAMSUL ISLAM • ~ INFLUENCE Q! HINDU, BUDDHIST, AND MUSLIM THOUGHT Q!i YEATS'S POETRY A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Arts by Shamsul Islam, B.A..B!ms., M.A. (Panjab) Department of English, Facul ty of Gradua te Studies and Research, lcGill University. August 1966. fn'1 \:::,./ ACKNOWLEDGEMENTS I wish to express my thank:s to Dr. Alan Heuser, Department of English, JlcÇill University, for his constant advice and encouragement. I would a.lso like to tha.nk Dr. Joyce Hemlow, Department of English, HcGill University, for her constant guidance and help. I am a.lso tha.nkful to Kra. Blincov, Depa.rtment of English, McGill University, for her wa.rmth and affection. I am a.lso gratef'ul to the Cana.dian Commonwealth Scb.ola.rship Commi ttee for the awa.rd of a. Commonwea.l th Bcholarship, which ena.bled me to complete my woà at McGill. OONTENTS Introduction 1 Chapter I. The Maze of Eastern Thought - Early Impact 1886-1889, with some remarks on Yeats's interest in the Orient 1890- 1911 3 Chapter II. New Light from the East: Tagore 1912- 1919, wi th remarks on some poems 1920- 1924 20 Chapter III. The Wor1d of Philoaophy -- Yeatsian Synthesis 1925-1939 31 Conclusion 47 Bibliography 50 1 Introduction Yeats vss part of a late nineteentb-centur,y European literar,y mo:Rement vhiah~ dissatisfied rlth Western tradition, both scientific and religious, looked tovards the Orient for enlightemnent. -
Literary Review
A BIRD’S EYE VIEW: EXPLORING THE BIRD IMAGERY IN THE LYRIC POETRY OF WILLIAM BUTLER YEATS By ERIN ELIZABETH RISNER A Thesis Submitted to the Faculty of the Graduate Studies Division of Ohio Dominican University Columbus, Ohio in partial fulfillment of the requirements for the Degree of MASTERS OF ARTS IN LIBERAL STUDIES MAY 2013 2 CERTIFICATION OF APPROVAL A BIRD’S EYE VIEW: EXPLORING THE BIRD IMAGERY IN THE LYRIC POETRY OF WILLIAM BUTLER YEATS By ERIN ELIZABETH RISNER Thesis Approved: _______________________________ ______________ Dr. Ronald W. Carstens, Ph.D. Date Professor of Political Science Chair, Liberal Studies Program ________________________________ ______________ Dr. Martin R. Brick, Ph.D. Date Assistant Professor of English _________________________________ ______________ Dr. Ann C. Hall, Ph. D. Date Professor of English 3 ACKNOWLEDGEMENTS I wish to express my appreciation to Dr. Martin Brick for all of his help and patience during this long, but rewarding, process. I also wish to thank Dr. Ann Hall for her final suggestions on this thesis and her Irish literature class two years ago that began this journey. A special thank you to Dr. Ron Carstens for his final review of this thesis and guidance through Ohio Dominican University’s MALS program. I must also give thanks to Dr. Beth Sutton-Ramspeck, who has guided me through academia since English Honors my freshman year at OSU-Lima. Final acknowledgements go to my family and friends. To my husband, Axle, thank you for all of your love and support the past three years. To my parents, Bob and Liz, I am the person I am today because of you.