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UCC Library and UCC Researchers Have Made This Item Openly Available UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Alfred Elmore: life, work and context Author(s) de Bhailís, Caoimhín Publication date 2017 Original citation De Bhailis, P. C. 2017. Alfred Elmore: life, work and context. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2017, Padraig Caoimhin De Bhailis. http://creativecommons.org/licenses/by-nc-nd/3.0/ Item downloaded http://hdl.handle.net/10468/5433 from Downloaded on 2021-10-06T16:37:37Z Alfred Elmore: Life, Work and Context Pádraig Caoimhín de Bhailís A thesis submitted for the degree of Doctor of Philosophy University College Cork November 2017 Volume 1 of 2 (Text) Supervisor: Professor Brendan Dooley College of Arts, Celtic Studies and Social Sciences Head of Department: Dr. Alan Gibbs 1 Contents Acknowledgements 3 Abstract 4 List of Illustrations 5 Introduction 15 Chapter 1 Elmore‘s Clonakilty 28 Chapter 2 Influence and Influences in the Work of Elmore 35 Chapter 3 The Religious Controversy 95 Chapter 4 Temporality and Narrative Absence in Elmore‘s Paintings 144 Chapter 5 Elmore‘s Drawings and Watercolours: An Artist Unatrophied 190 Conclusion 207 Bibliography 213 List of Image Sources 240 This is to certify that the work I am submitting is my own and has not been submitted for another degree, either at University College Cork or elsewhere. All external references and sources are clearly acknowledged and identified within the contents. I have read and understood the regulations of University College Cork concerning plagiarism. 2 Acknowledgements I‘d like to thank to Department of History of Art, University College Cork for setting me on this journey and Professor Brendan Dooley for his supervision that saw me through to its completion. Thanks to the staff of the U.C.C. library and to Mark Pomeroy of the Royal Academy of Art archives. A special thanks to the Thomas Dammann Junior Memorial Trust Awards for their financial assistance and to David for his encouragement and belief. Thanks to my wife Ann and my son Caoimhín for their patience and support and also a word of thanks to Pat Maloney. Thanks to James Gorry and his late wife, Teresa, for allowing me to view some of Elmore‘s paintings that would otherwise have been difficult to trace. Thanks to Alan Bean of Sigmund and Jocelyn Gallery, Birmingham, for tracking images and for sending them to me. 3 Abstract Alfred Elmore R.A. was a prominent and prolific Anglo-Irish artist during the nineteenth- century. Since his death, in 1881, he has largely disappeared from the study of Art History with the exception of a few of his works that have been examined in terms of gender studies of the period. It has also been asserted that other paintings from his oeuvre exhibit anti- Catholic tendencies. This thesis seeks to reposition the artist and his religious paintings as being, if not overtly pro-Catholic, at least neutral in their intention. As a painter across all genres of the period, Elmore‘s narrative paintings suggest a unique approach to ‗narrative‘ painting that allows the viewer free-play in the construction of internal, imaginative, narrative creation. Elmore‘s narrative paintings will be compared with familiar works by other artists of the period in order to locate these paintings within the genre and highlight his approach to rendering narrative. Described as ‗ahead of his time‘ Elmore‘s drawings display a modernity that belies his nineteenth-century, British context and allows for a reassessment of the status of British artistic practice during that period. As an exercise in connoisseurship and contextual interpretation, this thesis proposes that Elmore was an artist who either was a unique and exceptional artist in his output and mode of creation or that an examination of other neglected artists of the period that might exhibit similar artistic properties to Elmore will allow a renewed evaluation of British art and artists of the Victorian era. 4 List of Illustrations All images by Alfred Elmore unless otherwise indicated. Fig. 1. The Origin of the Stocking Machine, 1847, oil on canvas, 80 cm x 106.7 cm, Nottingham City Museum and Galleries. Fig. 2. Religious Controversy in the Time of Louis XIV, 1849, oil on canvas, Location unknown. Engraving, Illustrated London News, 1849. Fig. 3. Rienzi in the Forum, 1844, oil on canvas, 146 cm x 216 cm, Location unknown. Engraving, Illustrated London News, 1844. Fig. 4. On the Brink, 1865, oil on canvas, 113.7 cm x 82.7 cm, The Fitzwilliam Museum. Fig. 5. The Novice, 1852, oil on canvas, 74.5 cm x 91 cm, Bury Art Museum. Fig. 6. Her First Place, no data, Location unknown. Fig. 7. Henry O‘Neil, Sir Charles Taylor and Others (Forty Three members in the Billiard Room of the Garrick Club),1869, oil on canvas, 92.5 cm x155 cm, The Garrick Club, London. Fig. 7b. Detail of Fig. 7 showing Alfred Elmore, centre with beard and holding cigar. Fig. 8. Queen of the Day, 1850, oil on canvas, 63.5 cm x 100.33 cm, Location unknown. Fig. 9. Griselda, 1849, oil on canvas, 48.9 cm x 62.2 cm, Location unknown. Fig. 10. The Workhouse, n.d., engraving. Fig. 10a. The Forlorn, n.d., pencil on white wove paper, 28 cm x 22.9 cm, Birmingham Museum Art Gallery. Fig. 11. Desolation, n.d., engraving. Fig. 12. The Origin of the Guelph and Ghibelline Quarrel, 1845, oil on panel, 20.7 cm x 25.3 cm, Location unknown. Fig. 13. The Emperor Charles V at Yuste, 1856, oil on canvas, 121.8 cm x 167.5 cm, Royal Holloway, University of London. 5 Fig. 14. Two Women Shall be Grinding at the Mill, 1864, oil on canvas, 35cm x 46cm, Location unknown. Fig. 15. Beppo, 1847, oil on canvas, 85 cm x 112 cm, Crawford Art Gallery, Cork. Fig. 16. Charles Robert Leslie, Dulcinea del Toboso, 1839, oil on panel, 30.5 cm x 24.5 cm, Victoria and Albert Museum. Fig. 17. The Rose, n.d., oil on canvas, 53.5 cm x 43.5 cm, Location unknown. Fig. 18. Augustus Leopold Egg, Past and Present, 1858, oil on canvas, Triptych, each 63.5cm x 76.2cm, Tate Britain. Fig. 19. The Tuileries, June 20, 1792, 1860, oil on canvas, 35cm x 37cm, Location unknown. Fig. 20. Marie Antoinette in the Temple, 1861, oil on canvas, 84cm x 51cm, Location unknown. Fig. 21. William Powell Frith, The Railway Station, 1862, oil on canvas, 116.7cm x 256.4cm, Royal Holloway, University of London. Fig. 22. The Martyrdom of Thomas á Becket, 1839, oil on canvas, 300.48cm x 320cm, St. Andrew‘s Church, Dublin. Fig. 23. The Fainting of Hero from Much Ado About Nothing, 1846, oil on canvas, 121.9cm x 177.8cm, Location unknown. Fig. 24. Subject from ‘Two Gentlemen from Verona’, 1857, oil on canvas, 70.1cm x 53.9cm, Royal Academy of Art, London. Fig. 25. An Incident in the Life of Dante, 1858, oil on canvas, 69cm x 52cm, Location unknown. Fig. 26. The Deathbed of Robert, King of Naples, 1848, oil on canvas, 97.7 cm x 162.6 cm, Lytham Art Collection of Fylde Borough Council. Fig. 27. The Invention of the Combing Machine, 1862, oil on canvas, 100.2 cm x 141 cm, Bradford Museums and Galleries. Fig. 28. Alexander Farmer, An Anxious Hour, 1865, oil on canvas, 30.2cm x 40.6cm, Victoria and Albert Museum. 6 Fig. 29. Augustus Leopold Egg, The Travelling Companions, 1862, oil on canvas, 65.3cm x 78.7cm, Birmingham Museums Trust. Fig. 30. Abraham Solomon, First Class-The Meeting, 1856, oil on canvas, 54.5cm x 76.3cm, Southampton City Art Gallery. Fig. 31. Supplication, 1850, oil on panel, 42.5cm x 35cm, Harris Museum and Art Gallery. Fig. 32. William Powell Frith, The Derby Day, 1856-8, oil on canvas, 101.6cm x 223.5cm, Tate Britain. Fig. 33. The Gaming Table, n.d., oil on board, 18cm x 15cm, Location unknown. Fig. 34. Robert Braithwaite Martineau, The Last Day in the Old Home, 1862, oil on canvas, 107.3cm x 144.8cm, Tate Britain. Fig. 35. Louis Flameng, after William Powell Frith, The Road to Ruin, 1878, engraving, various sizes, Museum of London. Fig. 36. William Powell Frith, The Salon d’Or, Homburg, 1871, oil on canvas, 125.1cm x 260.4cm, Rhode Island School of Design. Fig. 37. William Powell Frith, At Homburg, 1869, 1870, oil on canvas, 59.7cm x 48.9cm, Location unknown. Fig. 38. Gustave Doré (After), Le Tapis Vert, c.1883, engraving, 60cm x 104.29cm, Library of Congress. Fig. 39. Thomas Armstrong, Woman with Lilies, 1876, oil on canvas, 183cm x 91.5cm, Laing Art Gallery. Fig. 40. Pen Browning, A Woman at Her Devotions, n.d., oil on canvas, dimensions unknown, Wellesley College/Maisie Ward. Fig. 41. Pen Browning, Vespers, 1881, oil on canvas, 96cm x 106cm, Worcestershire County Museum. Fig. 42. Sabrina, 1879, oil on canvas, dimensions unknown, Location unknown. Phototograph, Raccolte Museali Fratelli Alinari. Fig. 43. Untitled , n.d. , pencil on paper, 15cm x 19cm, Private collection. 7 Fig. 44. Francesco Hayez, The Two Foscari, c. 1852, oil on canvas, 121cm x 168 cm, Galleria Palatina (Palazzo Pitti), Florence. Fig. 45. Untitled, n.d., pencil on paper, 15cm x 19cm, Private collection. Fig. 46. Pelagio Palagi, Newton’s Discovery of Refraction, 1827, oil on canvas, 167cm x 216cm, Pinacoteca Tosio Martinengo, Brescia. Fig. 47. Pelagio Palagi, Gian Galeazzo Sforza Dying in the Castle of Pavia in 1494, oil on canvas, 45.4cm x 48.5cm.
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