DOCSLIB.ORG

Ambivalent Homecomings: Louis Le Brocquy, Francis Bacon and the Mechanics of Canonization

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ambivalent Homecomings: Louis Le Brocquy, Francis Bacon and the Mechanics of Canonization FIElD DAy REVIEw 170 Fig. 1: Louis le Brocquy, A Family (detail), 1951 Oil on canvas, 147 x 185 cm Ambivalent Collection National Gallery of Ireland © the artist Homecomings: Louis le Brocquy, Francis Bacon and the Mechanics of Canonization Lucy Cotter In 2001 two significant homecomings were celebrated in the Irish art world. The first surrounded the public opening of Francis Bacon’s studio in Dublin, the city of the artist’s birth. Following a donation by Bacon’s sole heir, John Edwards, the entire studio was dismantled at its location at Reece Mews in London, transported, and painstakingly reconstructed at the Hugh Lane Municipal Gallery of Modern Art (now Dublin City Gallery The Hugh Lane). The second homecoming was the donation of Louis le 1 Medb Ruane, ‘Le Brocquy’s, The Family’, Brocquy’s A Family (1951), a Irish Arts Review, 19, 1 (2002), 22–23, 23. painting that had been central to FielD DAy Review 7 2011 171 FIElD DAy REVIEw historic debates on modernism in the Irish Keith Vaughan, Robert MacBryde, Robert 2 For an overview of context, to the National Gallery of Ireland Colquhoun, Josef Herman, John Minton, British art in the post-war period, see David Mellor, in Dublin. When le Brocquy represented Graham Sutherland and Lucian Freud. ‘Existentialism and Post- Ireland at the Venice Biennale in 1956, the The tension between abstraction and War British Art’, in F. painting had been awarded the prestigious figuration haunted them all. Most were Morris, ed., Paris Post-War: Art and Existentialism, Nestlé-endowed Premio Aquisitato prize influenced by Pablo Picasso’s legacy of 1945–55 (London, 1993), and had hung in the company’s Milan abstracted figuration, which many had 53–56, and Margaret offices until 2001, when it was acquired by become familiar with thanks to Jankel Garlake, New Art New World: British Art in an Irish businessman for donation to the Adler, a Jewish Polish artist who moved to Postwar Society (London, National Gallery. Medb Ruane described London during the war. Writing about le 1998). See also Martin the homecoming of le Brocquy’s Family as Brocquy’s solo exhibition at the Leicester Harrison, ed., Transition: The London Art Scene in ‘an honouring of the prophet in his own Galleries in 1948, critic Maurice Collis the Fifties (London, 2002), land’.1 In contrast, the relocation of Bacon’s refers to the artist as a leading exponent for a specific analysis of studio to the city of his birth might aptly be of ‘a school closely allied to the group of figurative artists. 3 Dorothy Walker, Modern dubbed the return of the prodigal son, given French painters who, inspired by Picasso’s Art in Ireland (Dublin, that Bacon was sent out of the country in Guernica, seek to express the portentous 1997), 45. disgrace at the age of sixteen when his father fatality of the times’.4 Although they appear 4 Maurice Collis, Time and Tide (1948), cited on le had the first inklings of his homosexuality. rather different in retrospect, the works Brocquy’s official website The coincidence of the homecomings that consolidated Bacon’s and le Brocquy’s at http://www.anne- was a fortuitous tribute to a lifelong positions in post-war Britain — Studies for madden.com/LeBPages/ chronology8.html (accessed friendship that was forged between these Figures at the Base of a Crucifixion (1944) 1 September 2011). two Irish-born artists in London in 1951 and A Family (1951), respectively — would 5 Some of Bacon’s comments at a time when they were considered two then have been seen to share these qualities. from letters and exhibitions are recorded in Anne of the most significant up-and-coming From the time they met, Bacon is said Madden and Louis le ‘British’ painters. Their friendship was to have seldom missed one of le Brocquy’s Brocquy, Louis le Brocquy: not surprising, given that the two artists regular exhibitions at Gimpel Fils gallery. A Painter Seeing His Way (Dublin, 1994). See Louis le were raised in Ireland in similar Anglo- He later expressed this interest in personal Brocquy: Portrait Heads, A Irish upper-middle-class circles; they were correspondence and through his writing of Celebration of the Artist’s both self-taught painters and they shared a catalogue essay for le Brocquy in 1976, Ninetieth Birthday (Dublin, 2006), for reproductions a love for the Spanish masters. While their an uncharacteristic gesture for Bacon. Le of a number of the Bacon contemporary framing and reputations Brocquy showed his admiration for Bacon portraits. hardly allows them to be discussed in a through an extensive series of portraits shared framework, le Brocquy and Bacon painted in 1979 as part of his Portrait were then counted among a relatively Heads series.5 Today, the two are rarely small group of artists in London who addressed in relation to one another, worked figuratively in a period dominated not least because their works have been by abstraction.2 Art historian Dorothy taken up in different national canons. Walker recalled: ‘The period of the fifties, Bacon has been canonized as one of the not only in London but all over the most significant British painters of the Western world, was a period of abstract twentieth century, while le Brocquy is often painting, of saturation tachisme or abstract referred to as ‘Ireland’s greatest artist’. expressionism when figurative painting Le Brocquy’s role in post-war British art was totally out of fashion.’ Hence, Walker history is no better known than Bacon’s suggests, le Brocquy and Bacon could share birth and upbringing in Ireland. The their ‘continued isolation as figurative occasion of the two homecomings offered painters in an abstract world’.3 an opportunity to redress this situation. In Le Brocquy and Bacon were, to be doing so, it raised wider questions about the precise, among a small, loosely affiliated mechanics and politics of national canons circle of artists working with the figure in and, crucially, about their impact on the London in the mid-1950s, which included aesthetic reception of the work in question. 172 AmbivalENT HOMECOMINGS 6 Róisín Kennedy, ‘Made Despite the scale of the two acquisitions, of Bacon’s London studio to Dublin thus in England: The Critical these surrounding issues were rarely raises the question of Bacon’s eventual Reception of Louis le Brocquy’s A Family’, Third addressed at the time of the homecomings. re-canonization as an Irish artist. Despite Text, 19, 5 (2005), 475–86. In an isolated article published in 2005, the scale of the studio acquisition, the 7 In my formulation, I draw art historian Róisín Kennedy recuperated Irish art world at large was remarkably on Jacques Rancière, The Politics of Aesthetics, trans. the story behind the early British reception silent about this possibility. Yet the issue of Gabriel Rockhill (London, of A Family.6 She recalled that le Brocquy identity seemed to occupy people’s thoughts 2009), 50. was based in London when he painted nonetheless. At the launch of Francis the work, having been recruited by two Bacon’s Studio (2005), a book celebrating London gallerists as an emerging artist the studio acquisition, writer Conor Cruise in Ireland. Bringing artists from Ireland O’ Brien introduced Bacon as ‘one of the was one of the few ways to broaden the horsing people, a people divided by the scope of British art at a time when travel to Irish Sea’, a covert Anglo-Irish referent that mainland Europe was out of the question. almost seemed designed to foreclose issues Cecil Phillips of the Leicester Galleries and regarding national identity. Hugh Merrell, Charles Gimpel of the newly established the publisher, opened his speech with the Gimpel Fils gallery made a trip to Dublin observation: ‘Bacon was, above all, an looking for new artists to supplement their international artist.’ gallery programmes. They visited the Irish The gulf that separates le Brocquy and Exhibition of Living Art (a salon refusé for Bacon in art discourse today is partly the work that had been rejected by the annual result of the mechanics of canonization, Royal Hibernian Academy exhibition) and which were established in the nineteenth singled out le Brocquy’s work, inviting century in the context of nascent him to move to London to be represented nationalisms in Europe. Canons thus have by their galleries; an offer that le Brocquy a fundamentally singular national nature. gladly accepted. During the immediate This goes against artists’ typical locatedness post-war period, an active promotion of in different places at different times in British art was under way, supported by the their artistic development, as well as the government drive to celebrate Britishness complexity of many individuals’ cultural to boost the morale of the depleted post- and artistic affiliations. Because related war nation. In the ten years following spheres of reference coexist and intermingle his departure, le Brocquy went from in artworks themselves, the process of being perceived as an Irish artist to being canonization often becomes a symbolic perceived as a British artist and then back battlefield over values that are both aesthetic to being an Irish artist again, thanks to an and social. Elements in an artist’s work that active process of curatorial framing and have been underplayed or overshadowed reframing. Kennedy’s essay traces the early to secure the investments of one canon will instability of the artist’s national identity be highlighted in relation to another and and raises questions about the long-term vice versa.7 Changes in perception of an effects of his recuperation as an Irish artist, artist’s national belonging thus inevitably following his selection for the Irish pavilion bring about new ways of looking at his or of the Venice Biennale in 1956, after which her work, as I will examine in relation to le his success in Britain declined.
Load more

Recommended publications
  • The Roberts Robert Macbryde (1913-1966) and Robert Colquhoun (1914-1962) 3 – 31 March 2010
    The Roberts The Roberts Robert MacBryde (1913-1966) and Robert Colquhoun (1914-1962) 3 – 31 March 2010 Introduction 3 Time for Reappraisal by Davy Brown 7 Two Bright Guests by Robin Muir 10 Biographies 41 Acknowledgements 44 Front Cover: Photographs of Robert MacBryde and Robert Colquhoun by John Deakin (1951) courtesy Vogue/© The Condé Nast Publications Ltd. Above: Photograph of Robert MacBryde and Robert Colquhoun by Felix Man (1949) Hulton Archive/Getty Images. Bedford Gardens studio. Left: Robert MacBryde and Robert Colquhoun in Regent Street, London. Early 1950s: Baron Collection: Hulton Archive 2 Introduction Whilst doing some research for another of Art in the 1930s. They moved to London in exhibition, I found an L S Lowry catalogue from 1941 and quickly became associated with the 1944, called ‘The Industrial North and its People’, Neo-Romantic group of painters which included held at The Scottish Gallery. It was a chance find Keith Vaughan and John Minton. At a time when with unforeseen consequences. How exactly homosexuality was not only illegal but actively did the gallery survive during wartime and in persecuted, they made little attempt to disguise particular, what artists did we show and what their relationship and they had a constant stream social and artistic changes could clearly be of admirers, both male and female. The circle established? I pulled the entire library apart to of friends that grew around them included the find more clues. The result is that I now have too painters Francis Bacon, Lucian Freud, Michael many stories to tell, but on this day I found all the Ayrton, John Minton and the poets George Barker catalogues that belonged to ‘The Starks’.
    [Show full text]
  • The Art Collection of Peter Watson (1908–1956)
    099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement.
    [Show full text]
  • Minton, John (1917-1957) by Shaun Cole
    Minton, John (1917-1957) by Shaun Cole Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com John Minton was a painter of landscapes, town scenes, and figure subjects in oil and watercolor, as well as an acclaimed illustrator. Minton's homosexuality was an important influence on his work. One of his main themes was the young male figure in emotionally charged settings. Like many middle class gay men of his generation, Minton was drawn to men who fulfilled a manly ideal, and this attraction manifested itself in much of his work, where he portrayed his handsome working class lovers and other ideals of masculinity such as Guardsmen and matadors. A key figure of the 1940s neo-Romantic movement and a celebrity of London's bohemia, Minton lived and worked with most of the younger generation of neo-Romantic artists including Michael Ayrton, Robert Colquhoun, Robert MacBryde, and Keith Vaughan. Born on December 25, 1917, Minton studied at St John's Wood School of Art from 1935 to 1938 and later went on to teach at Camberwell School of Art (1943-1946), Central School of Art and Crafts (1946-1948), and the Royal College of Art (1948 until his death in 1957). Minton's early work focused on the urban landscape he discovered during nocturnal jaunts around London, where he also discovered an active sexual underground. Visits to Spain in 1949 and Jamaica in 1950 offered Minton a fresh repertoire of subjects and enriched his palette of colors. Although Minton was dedicated to painting, his reputation developed as a result of his skill as an illustrator.
    [Show full text]
  • S.Macw / CV / NCAD
    Susan MacWilliam Curriculum Vitae 1 / 8 http://www.susanmacwilliam.com/ Solo Exhibitions 2012 Out of this Worlds, Noxious Sector Projects, Seattle F-L-A-M-M-A-R-I-O-N, Open Space, Victoria, BC 2010 F-L-A-M-M-A-R-I-O-N, aceart inc, Winnipeg Supersense, Higher Bridges Gallery, Enniskillen Susan MacWilliam, Conner Contemporary, Washington DC F-L-A-M-M-A-R-I-O-N, Golden Thread Gallery, Belfast F-L-A-M-M-A-R-I-O-N, NCAD Gallery, Dublin 2009 Remote Viewing, 53rd Venice Biennale 2009, Solo exhibition representing Northern Ireland 13 Roland Gardens, Golden Thread Gallery Project Space, Belfast 2008 Eileen, Gimpel Fils, London Double Vision, Jack the Pelican Presents, New York 13 Roland Gardens, Video Screening, The Parapsychology Foundation Perspectives Lecture Series, Baruch College, City University, New York 2006 Dermo Optics, Likovni Salon, Celje, Slovenia 2006 Susan MacWilliam, Ard Bia Café, Galway 2004 Headbox, Temple Bar Gallery, Dublin 2003 On The Eye, Golden Thread Gallery, Belfast 2002 On The Eye, Butler Gallery, Kilkenny 2001 Susan MacWilliam, Gallery 1, Cornerhouse, Manchester 2000 The Persistence of Vision, Limerick City Gallery of Art, Limerick 1999 Experiment M, Context Gallery, Derry Faint, Old Museum Arts Centre, Belfast 1997 Curtains, Project Arts Centre, Dublin 1995 Liptych II, Crescent Arts Centre, Belfast 1994 Liptych, Harmony Hill Arts Centre, Lisburn List, Street Level Gallery, Irish News Building, Belfast Solo Screenings 2012 Some Ghosts, Dr William G Roll (1926-2012) Memorial, Rhine Research Center, Durham, NC. 2010 F-L-A-M-M-A-R-I-O-N, Sarah Meltzer Gallery, New York.
    [Show full text]
  • Call No. Responsibility Item Publication Details Date Note 1
    Call no. Responsibility Item Publication details Date Note TKNC0001 Roberts, H. Song, to a gay measure Dublin: printed at the Dolmen 1951 "200 copies." Neville Press TKNC0002 Promotional notice for Travelling tinkers, a book of Dolmen Press ballads by Sigerson Clifford TKNC0003 Promotional notice for Freebooters by Mauruce Kennedy Dolmen Press TKNC0004 Advertisement for Dolmen Press Greeting cards &c Dolmen Press TKNC0005 The reporter: the magazine of facts and ideas. Volume July 16, 1964 contains 'In the 31 no. 2 beginning' (verse) by Thomas Kinsella TKNC0006 Clifford, Travelling tinkers Dublin: Dolmen Press 1951 Of one hundred special Sigerson copies signed by the author this is number 85. Insert note from Thomas Kinsella. TKNC0007 Kinsella, Thomas The starlit eye / Thomas Kinsella ; drawings by Liam Dublin: Dolmen Press 1952 Set and printed by hand Miller at the Dolmen Press, Dublin, in an edition of 175 copies. March 1952. (p. [8]). TKNC0008 Kinsella, Thomas Galley proof of Poems [Glenageary, County Dublin]: 1956 Galley proof Dolmen Press TKNC0009 Kinsella, Thomas The starlit eye / Thomas Kinsella ; drawings by Liam Dublin : Dolmen Press 1952 Of twenty five special Miller copies signed by the author this is number 20. Set and printed by hand at the Dolmen Press, Dublin, in an edition of 175 copies. March 1952. TKNC0010 Promotional postcard for Love Duet from the play God's Dolmen Press gentry by Donagh MacDonagh TKNC0011 Irish writing. No. 24 Special issue - Young writers issue Dublin Sep-53 1 Thomas Kinsella Collection Listing Call no. Responsibility Item Publication details Date Note TKNC0012 Promotional notice for Dolmen Chapbook 3, The perfect Dolmen Press 1955 wife a fable by Robert Gibbings with wood engravings by the author TKNC0013 Pat and Mick Broadside no.
    [Show full text]
  • Louis Le Brocquy Is a Self-Taught Artist Who Has Come to Be Louis Recognised Both at Home and Internationally As the Foremost Irish Painter of the 20Th Century
    stoney road press Born in Dublin in 1916, Louis le Brocquy is a self-taught artist who has come to be Louis recognised both at home and internationally as the foremost Irish painter of the 20th Century. Le Brocquy left Ireland in 1938 to study the major European art collections in le Brocquy London, Paris, Venice, Spain and Geneva. His return to Dublin signaled the advent of the Irish Exhibition of Living Art, which established an effective forum for contempo- rary art in Dublin in 1943. In 1946 le Brocquy moved to London and became prominent in the contempo- rary art scene. He began to exhibit internationally, winning a major prize at the Venice Biennale in 1956. In 1958, he was included in the historic exhibition Fifty Years of Mod- ern Art, at the Brussels World Fair. The same year he married the Irish painter Anne Madden and left London to work in the South of France. His work has received much international attention and many accolades in a career that spans seventy years of creative practice. Widely acclaimed for his evocative heads of literary figures and fellow artists, including W.B. Yeats, James Joyce and his friends Samuel Beckett, Francis Bacon, Seamus Heaney and Bono, Le Brocquy’s inqui- ry into the human condition is seminal to his motivation as a painter. Acknowledged by museum retrospective exhibitions worldwide, the artist’s work is represented in numerous public collections, from the Guggenheim, New York to the Tate, London. In Ireland he was elected Saoi of Aosdána in 1994 and is honoured as the first and only living painter to be included in the Permanent Irish Collection of the National Gallery.
    [Show full text]
  • SU Education Officer Under Criticism
    T H E I N D E P E N D E N T S T U D E N T N E W S P A P E R O F T R I N I T Y C O L L E G E D U B L I N [email protected] 10th February 2004 Vol 56; No.6 TrinityNews Always Free WWININ PPASSASS TTOO SUSU EELECTIONLECTION SSPORTPORT FILMILM FESTIVESTIVALAL! PECIAL Trinity Camogie win F F ! SSPECIAL at Colours SEE FILM PAGE 15 PAGE 3 PAGE 20 College News 21million for Trinity SWSS and Sinn Fein disciplined over Taoiseach protest Nanoscience research..p.2 Tim Walker nominal fine and a letter liberties following the of apology from the ‘War on Terror’. They Grant to develop MMR offending parties. have a ‘you’re either Vaccine........................p.3 THE SOCIALIST The anticipated with us or against us’ Worker (SWSS) and Sinn Students’ Union demon- attitude." Fein societies faced dis- stration against the edu- Ciaran Doherty, chair International ciplinary action from cation cutbacks failed to of the Trinity Sinn Fein Student News College following their materialise. Instead, the society, was more cir- involvement in the vocal Taoiseach was presented cumspect. "This was a UK Law schools announce protest that greeted with a petition of 1000 good-natured protest, new entrance exam Taoiseach Bertie Ahern signatures, with a cover involving 20 or 30 people ........................................p.4 on his visit to the letter drafted by SU at most," he commented. College Historical President Annie Gatling, "We just felt it was Forum Society on the evening of criticising the govern- important to make the Tuesday, January 28th.
    [Show full text]
  • West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000
    West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 I The West of Ireland National Gallery of Ireland / Gailearaí Náisiúnta na hÉireann West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 Marie Bourke With contributions by Donal Maguire And Sarah Edmondson II Contents 5 Foreword, Sean Rainbird, Director, National Gallery of Ireland 23 The West as a Significant Place for Irish Artists Contributions by Donal Maguire (DM), Administrator, Centre for the Study of Irish Art 6 Depicting the West of Ireland in the Nineteenth and Twentieth Centuries, Dr Marie Bourke, Keeper, Head of Education 24 James Arthur O’Connor (1792–1841), The Mill, Ballinrobe, c.1818 25 George Petrie (1790–1866), Pilgrims at Saint Brigid’s Well, Liscannor, Co. Clare, c.1829–30 6 Introduction: The Lure of the West 26 Frederic William Burton (1816–1900), In Joyce Country (Connemara, Co. Galway), c.1840 6 George Petrie (1790–1866), Dún Aonghasa, Inishmore, Aran Islands, c.1827 27 Frederic William Burton (1816–1900), The Aran Fisherman’s Drowned Child, 1841 8 Timeline: Key Dates in Irish History and Culture, 1800–1999 28 Augustus Burke (c.1838–1891), A Connemara Girl 10 Curiosity about Ireland: Guide books, Travel Memoirs 29 Bartholomew Colles Watkins (1833–1891), A View of the Killaries, from Leenane 10 James Arthur O’Connor (1792–1841), A View of Lough Mask 30 Aloysius O’Kelly (1853–1936), Mass in a Connemara Cabin, c.1883 11 Frederic William Burton (1816–1900), Paddy Conneely (d.1850), a Galway Piper 31 Walter Frederick Osborne (1859–1903), A Galway Cottage, c.1893 32 Jack B.
    [Show full text]
  • WILLIAM SCOTT (B.1913 Greenock, Scotland)
    WILLIAM SCOTT (b.1913 Greenock, Scotland) EDUCATION Belfast College of Art Royal Academy Schools (1935) SELECT SOLO EXHIBITIONS 2019 Paintings and Drawings: Fifties Through Eighties, Anita Rogers Gallery, New York, NY 2016 Verey Gallery, Eton College, Form – Colour – Space, Windsor, UK 2016 Fermanagh County Museum, William Scott: The Early Years, Enniskillen, Northern Ireland 2015 Fermanagh District Council Town Hall, William Scott Paintings at Enniskillen’s Town Hall, Enniskillen, Northern Ireland 2014 Pallant House gallery, Three pears and a Pan, 1955, Chichester, UK 2013 The Gordon Gallery, the Altnagelvin Mural, Derry, Northern Ireland 2013 The Ulster Museum, William Scott: Centenary Exhibition, Belfast, Northern Ireland 2013 The Hepworth Wakefield, William Scott, Wakefield, UK 2013 McCaffrey Fine Art, William Scott: Domestic Forms, New York, NY 2013 Victoria Art Gallery, William Scott: Simplicity and Subject, Bath, UK 2013 Denenberg Fine Arts, William Scott Works on Paper 1953-1986, Los Angeles, CA 2013 Karsten Schubert, William Scott 1950s Nude Drawings, London, UK 2013 Jerwood Gallery, William Scott: Divided Figure, Hastings, UK 2013 Enniskillen Castle Museum, Full-Circle: William Scott Centenary Exhibition, Enniskillen, Northern Ireland 2013 Tate St Ives, William Scott, and touring: Hepworth Wakefield; Ulster Museum, Belfast, Northern Ireland 2012 McCaffrey Fine Art at Frieze Masters, William Scott, London, UK 2010 McCaffrey Fine Art, William Scott, New York, NY 2009 F.E. McWilliam Gallery and Studio, William Scott in Ireland. Paintings, Drawings Gouaches and Lithographs 1938–1979, Banbridge, Northern Ireland 2006 Fermanagh County Museum, Celebrating William Scott: Paintings from Fermanagh County Museum, Enniskillen, Northern Ireland 2005 Denise Bibro Fine Art, William Scott Works on Paper, New York, NY 2005 Lorenzelli Arte, William Scott La voce dei colori, Milan, Italy 2005 Archeus Fine Art, William Scott.
    [Show full text]
  • Robert Colquhoun and Robert Macbryde Datasheet
    Image not found or type unknown TITLE INFORMATION Tel: +1 212 645 1111 Email: [email protected] Web: https://www.accartbooks.com/us Published 8th Dec 2014 Image not found or type unknown Two Roberts: Robert Colquhoun and Robert MacBryde Patrick Elliott Adrian Clarke Roger Bristow Davey Brown ISBN 9781906270742 Publisher National Galleries of Scotland Binding Paperback / softback Territory USA & Canada Size 9.65 in x 10.43 in Pages 128 Pages Illustrations 80 color, 10 b&w Price $15.99 Contains new research and unpublished material on the two artists Accompanies the first exhibition to show these artists' works together at the Scottish National Gallery of Modern Art from 22 November 2014 to May 2015 The 'Two Roberts': Robert Colquhoun (1914-1962) and Robert MacBryde (1913-1966), were two of the most important and celebrated Scottish artists of the twentieth century. Colquhoun studied at Glasgow School of Art where he met Robert MacBryde. The two became lovers. They were part of a celebrated Soho group that included Francis Bacon and Lucian Freud. Their post-cubist work - much influenced by Picasso - became enormously successful. In the 1950s they established worldwide reputations. Colquhoun's drinking and temperament caught up with him and he died almost penniless in 1962. MacBryde was killed in a car accident four years later. This catalogue with over 90 illustrations accompanies the only show to ever exhibit both artists together. The authors refer to previously unpublished letters and explore the 'Two Roberts' individual art practice as well as works the two executed together. Patrick Elliott is a Senior Curator at the Scottish National Gallery of Modern Art, Edinburgh.
    [Show full text]
  • SU407 INTRODUCTION to ART in IRELAND (3 Credits)
    SU407 INTRODUCTION TO ART IN IRELAND (3 Credits) COURSE OBJECTIVE: This course will trace the development of Irish art from Newgrange to the 2009 Venice Biennale. In the first part of the course students will learn to appraise and evaluate a broad spectrum of prehistoric art and the outstanding artistic achievements of the ‘Golden Age’ of Irish art; the Book of Kells, the Tara Brooch and Irish High Crosses. The second half of the course will focus on how the ‘rediscovery’ of this early artistic legacy informed later artists, culminating in the ‘Celtic Revival’ of the nineteenth and twentieth centuries before moving on to the development of modern art in Ireland, examining the work of Jack Yeats, Mainie Jellett, and many others. The course will conclude with an overview of trends in contemporary Irish art. A key question underlying the various strands of the course will be the development of a distinctly Irish cultural identity in the visual arts and the influence of international trends on Irish artists throughout the ages. COURSE OUTLINE: Week 1 Introductory lecture Passage Grave Art Bronze Age Gold Work FIELD SEMINAR: NATIONAL MUSEUM & NATIONAL GALLERY Week 2 La Tène Art: The Earliest Art of the Celts Irish Art AD 300-500: the Iron Age to Early Christian Transition The Golden Age of Irish Art The Work of Angels: Early Christian Manuscript Art Week 3 Celtic High Crosses: Ornament, Symbolic Significance and Iconography Turning Points in Irish Art The Celtic Revival: Motifs and Symbols The Celtic Revival: People and Landscape Week 4 The Irish Impressionists and the Belle Epoque Jack Yeats Realism, Nationalism and the West Week 5 Mainie Jellett and the Modernists Post War Trends and Contemporary Art ASSESSMENT COURSE TEXTS: Passage Grave Art Jones, C.
    [Show full text]
  • Bryan Wynter a Selected Retrospective
    Bryan Wynter A Selected Retrospective Tate St Ives 15 September – 2 December 2001 Notes for Teachers - 1 - Contents Introduction Bryan Wynter: A brief biography Inspiration and Influences The Artist’s Studio St Ives in the 1940s, Gallery 1 Early Gouaches, Apse Painting and Natural Process, Gallery 4 IMOOS, Gallery 3 Late Paintings, Lower Gallery 2 Drawings, Education Studio Thomas Joshua Cooper, Gallery 5 Themes and curriculum links Further Reading Glossary Texts by Bryan Wynter Poems by W S Graham - 2 - Introduction The autumn season at Tate St Ives is devoted to landscape with a special focus on the work of Bryan Wynter (1915-75). Bryan Wynter: A Selected Retrospective has been curated by Chris Stephens and presents four key moments in Wynter’s artistic career. Early small gouaches from the 1940s, abstract paintings from the 1950s, the IMOOS constructions (Images Moving Out Onto Space) made in the 1960s, and a series of rarely seen large-scale paintings inspired by light and water made in the 1970s. At the same time, the Gallery is also exhibiting the work of American artist Thomas Joshua Cooper who presents large-scale atmospheric photographs of the Atlantic Ocean made at the edges of the land in Scotland and Cornwall. In Upper Gallery 2 visitors will be able to see a new display of ceramics focusing on the work of Bernard Leach and Shoji Hamada. The writer and ceramist Emmanuel Cooper has been invited to curate a new ‘craft showcase’ offering a reinterpretation of the Wingfield Digby Collection. Why bring your students to Bryan Wynter: A Selected Retrospective? Bryan Wynter: A Selected Retrospective is an exciting and challenging exhibition that will appeal to all ages.
    [Show full text]