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An Exhibition of 18Th - 21St Century Irish Paintings

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An Exhibition of 18Th - 21St Century Irish Paintings GORRY GALLERY 19. WILLIAM OLIVER fl. 1867-1897 FRONT COVER: Harry Jones Thaddeus R.H.A 1860-1929 Catalogue Number 8 © GORRY GALLERY LTD. GORRY GALLERY requests the pleasure of your company at the private view of An Exhibition of 18th - 21st Century Irish Paintings on Sunday 30th March 2014 Wine 3.30 p.m. This exhibition can be viewed prior to the opening by appointment also on Wednesday, Thursday, Friday and Saturday 26th, 27th, 28th and 29th March 11.30 a.m. - 5.30 p.m. and Sunday 30th March 12 noon - 3.30 p.m. prior to the opening and sale of exhibition. www.gorrygallery.ie 30th March - 12th April 2014 8. Harry Jones Thaddeus R.H.A. (1860-1929) ‘The Friends of the Model’ Signed ‘HTHADDEUS JONES/1881’ Oil on canvas 116 x 98 cm EXHIBITED: Paris Salon, 1882 Number 1427 Cork Industrial and Fine Arts Exhibition, 1883, Number 138 Royal Scottish Academy 1883, Number 601 LITERATURE: Cork Constitution 4 July 1883 Recollections of a Court Painter by H. Jones Thaddeus, London 1912 The Life and Work of Harry Jones Thaddeus, Brendan Rooney, Four Courts Press, 2003 2 The Chapelle de l’Hôpital sits on the rue Vauban, the France in the nineteenth century, it speaks volumes of main thoroughfare leading to the heart of the Ville Close, Thaddeus’s affection for Concarneau and his ambitions Concarneau’s medieval fortified island.1 A hospital church for the art that he would produce there that he remained built in the sixteenth century, it originally comprised two during an outbreak of pox in 1881 that claimed over a communal wards from which male and female patients, hundred lives in four months.6 ‘At the commencement of cared for by nuns, could follow religious services from the outbreak,’ Thaddeus remembered ‘I invariably had their beds. By the nineteenth century, however, all that a number of children in this chapel, who took it in turn remained of the original structure were part of the walls, to pose for a child I was painting in one of my pictures’. including the gable end and large stained glass window One young boy, ‘after posing for a short time’ actually looking on to the street.2 It was in this building (fig.1) died in the studio.7 Thaddeus’s decision to stay was vindicated by the success he enjoyed the following year. Both The Friends of the Model and Market Day, Finistère (NGI) (fig.2) featured at the Paris Salon of 1882, where Thaddeus ‘had the pleasure of seeing [them] well placed’.8 Indeed, the pictures’ catalogue numbers indicate that they were hung side- by-side, no doubt as Thaddeus himself had hoped but certainly could not stipulate or expect. The main (fig.1) female character is clearly the same in the that twenty-one-year-old Harry Jones Thaddeus, two paintings. Indeed, through the good fortune that appears to have blessed Photo © National Gallery of Ireland she appears in both in much of his professional life, established his studio for (fig.2) very similar costume, his lengthy stay in the large Breton port. According to though in The Friends of the Model her starched coiffe is the artist himself, the disused chapel had been placed at turned down on her shoulders, and she wears sabots on his disposal by the town’s mayor, and ‘the light from the her feet rather than polished shoes. Though different in large Gothic window [served] my purpose admirably’.3 size, the paintings were clearly conceived as a pair. While one is a broadly documentary image of everyday life Concarneau had been for several years a popular in Concarneau, the other records the environment and destination for young artists seeking to apply technical manner in which such pictures were executed. As The skills recently honed in Europe’s ateliers to subjects from Friends of the Model suggests, Thaddeus would routinely the everyday lives of local people. In the early summer have completed figurative and local detail in the studio of 1881, Thaddeus travelled to Brittany with a number of before incorporating it into backgrounds studied in situ. his ‘French camarades’ from Paris, where he had studied The young woman’s activity, spinning with a distaff at the Académie Julian.4 Having spent a short time in and spindle, is typical of the domestic tasks recorded in the picturesque village and celebrated artists’ colony of Breton art of the period.9 Pont Aven, he moved on to Concarneau, where he took lodgings at the Grand Hotel on the mainland.5 Drawing In The Friends of the Model, Thaddeus casts himself clearly confidence from the triumph of having his interior scene as engaged with, but separate from, the local Breton The Wounded Poacher (NGI) accepted for the Salon in Paris community. In fitted jacket, velvet breeches, stockings that year, and inspired by the endeavour of Concarneau’s and a scarlet beret, he appears clearly more boulevardier artistic community, Thaddeus produced some of his finest than paysan. This is all the more obvious when one work in Brittany. His privileged location at the centre of compares him to the local fisherman who stands close by the old town must surely have aided his development. in a coarse blue smock, heavy trousers and sabots. Even Though epidemics were relatively common in provincial Thaddeus’s carefully groomed moustache contrasts with 1. The church is also known as la Chapelle de la Trinité. 2. The building functions today as an art gallery. 3. H.J. Thaddeus, Recollections of a Court Painter, (London 1912), 33. 4. Thaddeus, op. cit., 21. 5. Thaddeus, op. cit., 25. For a full account of Thaddeus’s life in France see Brendan Rooney, The Life and Work of Harry Jones Thaddeus, (Dublin 2003). 6. Catherine Fauchet, ‘Les crises de la pêche à Concarneau et les politiques municipales 1800-1914’, in Jacques-Guy Petit et Yannick Marec, eds, Le Social dans la Vie en France et en Europe 1750-1914, (Paris 1996), 136. 7. Thaddeus, op. cit., 33. 8. Thaddeus, op. cit., 35. 9. For comparison, see Jules Breton, The Rest of the Haymakers (1872, private collection) and Paul Gauguin, Breton Girl Spinning (1889, Van Gogh Museum). 3 the more functional beard sported by the fisherman. early works, including several Breton pictures. Perhaps most remarkable, and incongruous, however, are the artist’s pointed shoes, clearly associated with the The Friends of the Artist provides a rare insight into an fencing items that lie in the foreground to the left. (fig.3) Irish expatriate artist’s methods and practice. On the wall by the door hangs a study of a Breton pardon, a religious subject favoured by both local and visiting artists in Brittany in the second half of the nineteenth and early twentieth century.10 Interiors and figure studies appear elsewhere in the room, including a sketch of the main model spinning. The canvas on the easel, meanwhile, is suspended at an angle by a string and supported at the rear by a bar to allow the artist to sit while painting. Whereas the finish and tonal character of the work is typical of Naturalist painting of the period, the colour range is resolutely Thaddeus’s own. Flashes of red occur throughout, from the frame of a fencing mask and on the canvas and palette to the tip of the artist’s shoe. The composition also features a distinctive blue that recurs in many of Thaddeus’s paintings, including formal portraits of the 1880s. Despite its apparent authenticity, however, it is a curiously contrived composition. The young girl seems to continue to pose despite the fact that the artist has set his equipment down and smokes casually while showing a small canvas to two other girls and a child. He is, as it (fig.3) were, providing a private audience in his studio, proudly showing the products of his industry to an approving This sporting panoply distinguishes Thaddeus further assembly. The bearded fisherman gestures towards the from the fisherfolk among whom he lived. Fencing, in canvas on the easel, while a young boy appears stupefied France as elsewhere, remained a pursuit of the privileged, by the art before him and the seated male figure, very and Thaddeus is making here an audacious claim to likely a fellow artist, contemplates the scene through his position among them. Moreover, his deliberate pipe smoke. Thaddeus’s youthful self-regard, which juxtaposition of the epée, masks and gauntlet with a rather qualifies the composition as a whole, is epitomised bottle of turpentine and a bowl for cleaning his brushes by the fact that the young girl on the left appears more serves to underline his role as gentleman-artist. fascinated by his dashing appearance than the canvas he holds up. The figurative detail in the picture owes much to Thaddeus’s study from the model in Paris, though the At this point of his fledgling career, Thaddeus still bore little boy at the centre of the composition suggests a less his original name, which appears in precisely the same academic impulse. Such figures, approaching caricature, form and style in his more loosely executed Young Breton were not uncommon in Thaddeus’s work. For example, Fisher Boy (private collection) of the same year.11 He an awkward character in rural attire – including large returned some time later, however, to alter the signature sabots and oversized hat – strolls nonchalantly through on the companion picture Market Day, Finistère so that a Paris fairground in a picture painted less than a year it corresponded with his adopted name.
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