DOCSLIB.ORG

Download Annual Report 1973-74

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Annual Report 1973-74 AN CHOMHAIRLE EALAÍON An Dara Tuarascáil Bhliantúil is Fiche, maille le Cuntais ó lú Aibreán, 1973 go 31ú Márta, 1974. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6(3) agus 7 (1) den Acht Ealaíon, 1951. Twenty-second Annual Report and Accounts from 1st April, 1973 to 31st March, 1974. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act, 1951. AN CHOMHAIRLE EALAÍON Na Comhaltaí/Members Professor Geoffrey Hand, Chairman Miss Kathleen Barrington Mr. John Behan Dr. Brian Boydell Mr. Tom Caldwell Mr. George Collie Dr. Máire de Paor Mr. Andrew Devane Mr. Séamus Heaney Mr. John B. Keane Dr. Séamus Murphy Mrs. Éilis Mercier (Éilis Dillon) Professor Seán Ó Tuama Mr. Brian Quinn Mr. Richard Stokes Dr. T. J. Walsh Mr. James White AN CHOMHAIRLE EALAÍON An Dara Tuarascáil Bhliantúil is Fiche, maille le Cuntais ó lú Aibreán, 1973 go 31ú Márta, 1974. Don Rialtas: De bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon, 1951, tíolacann An Chomhairle Ealaíon Tuarascáil agus Cuntais na Comhairle don bhliain lú Aibreán, 1973, go 31ú Márta, 1974. Is í an Chomhairle Ealaíon an comhlucht a bunaíodh de bharr Achtanna Ealaíon 1951 agus 1973, agus tá sí comhdhéanta de Chathaoirleach agus, ar a mhéid, sé chomhalta dhéag eile arna gceapadh ag an Taoiseach. Is iad feidhmeanna na Comhairle Ealaíon: (1) suim an phobail sna healaíona a spreagadh, (2) eolas, dea-mheas agus cleacht ar na healaíona a chur chun cinn, (3) cabhrú le caighdeáin na n-ealaíon d'fheabhsú, (4) taispeántais (sa Stát nó lasmuigh den Stát) d'oibreacha ealaíon agus de cheardaíocht ealaíonta d'eagrú, nó cabhrú lena n-eagrú, (5) comhairle a thabhairt don Rialtas, nó d'aon chomhalta den Rialtas, i dtaobh aon ní (is ní dá bhfónann eolas agus taithí ar na healaíona) a n-iarrfar comhairle orthu ina thaobh, (6) comhoibriú agus cabhrú le haon daoine eile ag a bhfuil baint, go díreach nó go neamhdhíreach, le nithe a bhaineas leis na healaíona. Is féidir don Chomhairle, faoi choinníollacha oiriúnacha, a n-aire a dhíriú ar imeachtaí lasmuigh den Stát. Ins na hAchtanna Ealaíon, ciallaíonn an abairt `na healaíona' péintéireacht, snoíodóireacht, ailtireacht, ceol, drámaíocht, litríocht, dearthóireacht tionscail, scannánaíocht, agus na mín-ealaíona agus na healaíona feidhmeacha i gcoitinne. Twenty-second Annual Report and Accounts from 1st April, 1973 to 31st March, 1974. To the Government: Pursuant to Sections 6 (3) and 7 (1) of the Arts Act, 1951, An Chomhairle Ealaíon presents the Report and Accounts of the Council for the year 1st April, 1973 to 31st March, 1974. An Chomhairle Ealaíon is the body established by the Arts Acts 1951 and 1973 and consists of a chairman and not more than sixteen other members, appointed by the Taoiseach. The functions of An Chomhairle Ealaíon are: (1) to stimulate public interest in the arts, (2) to promote the knowledge, appreciation and practice of the arts, (3) to assist in improving the standards of the arts, (4) to organise or assist in the organising of exhibitions (within or without the State) of works of art and artistic craftsmanship, (5) to advise the Government or a member of the Government on any matter (being a matter on which knowledge and experience of the arts has a bearing) on which their advice is requested, (6) to co-operate with and assist other persons concerned directly or indirectly with matters relating to the arts. The Council may in appropriate circumstances extend their activities outside the State. In the Arts Acts, the expression 'the arts' means painting, sculpture, architecture, music, the drama, literature, design in industry, the cinema and the fine arts and applied arts generally. INTRODUCTION THE Report which follows covers a year of major importance in the history of An Chomhairle Ealaíon. In addition to increasing the powers of the Council in certain respects, the Arts Act 1973 enlarged its membership and altered its administrative structure. On 1st January 1974 the first Council under the terms of the new legislation took office. But the full impact of the new provisions had yet to be felt by the end of the year with which this Report deals and in particular the key new office of Director had not been filled. Those new to membership of An Chomhairle Ealaíon have been greatly aided by the accumulation of knowledge and precedent by their predecessors, some of whom had given distinguished service since the early days of the Council. Tribute is above all to be paid to the last (1960-1973) holder of the office of Director under the previous (1951) legislation. Though Father Donal O'Sullivan, S.J., preferred to be unobtrusive in his guidance of the Council's development, he nevertheless quietly achieved much of enduring value. His particular contribution is to be found in the Council's Collection and in the stimulus given during his Directorship to contemporary work in the visual arts. Past and present members of the Council will wish him well. Since taking office the members of the present Council have been anxious to develop lines of policy but, despite one long meeting solely devoted to such matters, the task has not been easy. Comparison with the role of the Arts Councils in Britain and Northern Ireland and examination of our own previous history have only again brought out the dilemma, to quote from the 1972-73 Report of Cyngor Celfyddydau Cymru, the Welsh Arts Council, of 'spreading the arts widely or concentrating on the narrow front of high quality, professional arts, or attempting to do both'. Whichever path is chosen—and the choice is especially painful in its clarity in our case because of the limitations on the available resources—criticism may be confidently expected. However, the policy of An Chomhairle Ealaíon has remained broadly that enunciated in a minute as far back as 1957 'while not failing to encourage local enterprise (to) insist on high standards'. Excellence and enthusiasm both merit support; but if the standard of excellence is not clearly set, enthusiasm may not arrive at self-fulfilment. Some particular policy decisions have been made. The Council is determined to pay particular attention to the educational aspect of its work and to explore ways of encouraging creative artists through the establishment of machinery, appropriate to the needs and existing structures in particular arts, for providing direct assistance. It has been decided not to allow increases (other than those necessary to counter inflation) to operatic seasons and performances until effective changes can be made in the organisation of opera in Ireland. In the actual working of An Chomhairle, to use the phrase of a speaker during the Oireachtas debates on the Arts Bill, 'dictation by the postman' is an ever-present threat. (Here it is right to record that at an early stage each member of the present Council received a full set of the relevant debates and found the contributions of deputies and senators thoughtful and enlightening on many points). What is meant is that the Agenda is easily dominated by the input of requests for funds, so that there is rarely an opportunity to sit back and reflect on an entire field. The Advisory Committees which the Council is enabled to establish under Section 11 of the 1973 Act may well prove to relieve this situation and the Council is experimenting with other forms of consultation away from the full meetings. To express a personal view from the Chair, it can be contended that a change in financial policy should ease this problem. Hitherto An Chomhairle Ealaíon has found it practically impossible to plan a year's allocations in advance. But advance planning would bring policy more closely to bear upon the month-to-month task of deciding upon subventions. Though such a change would mean a difficult period of transition from both an administrative and a financial point of view, it may well be the key to really effective use of the state support made available through the Council. Unhappily, many of the clamant needs for finance in the Arts have to remain unmet or inadequately served. Determined both to maintain established traditions of support and to assist at least some of the most deserving new applicants, the Council in 1973-74 authorised allocations which have, frankly, prejudiced the future. From the body of the Report it will be seen that grants and guarantees totalled almost £91,700. Expenditure on Council Exhibitions, purchases of works of art and on administration amounted to £37,300, giving a total expenditure of £129,000— almost 30% in excess of the relevant Government grant. By the end of March 1974 the Council not only had outstanding commitments in respect of 1973-74 and earlier years amounting to £44,223, but it had also commitments already in respect of future financial years to the extent of £81,891. The Estimates for the truncated 1974 financial year showed a notable increase of 50% in the rate of state support to An Chomhairle Ealaion and for this a very genuine gratitude is expressed. Yet even the new figure is modest when set beside, for example, the funds available to the Arts Council of Northern Ireland (even after the major responsibilities of that Council in the fields of orchestra and drama, which are separately dealt with in the Republic, have been discounted). On a per capita basis the Northern figures are more than double those for the Republic. It is hoped that the present serious position of the Council's finances will not be interpreted as bad stewardship but as an expression of trust on the part of the members that the Irish people, acting through its public representatives and Government, accepts and appreciates the role of the Arts in our life and will face the expenditure needed for that role to be fulfilled.
Load more

Recommended publications
  • SOUTER Camille
    The Trinity College Dublin Art Collections Artist: Camille Souter Title: On Their Way Medium: oil on Paper Dimensions: 79cm x 57cm b. 1929, Northamptonshire, England Born Betty Pamela Holmes, her first husband Gordon Souter allegedly nicknamed her ‘Camille’ after the consumptive heroine of Alexandre Dumas’ novel ‘La Dame aux Camélias’. She was raised in Ireland, and studied nursing at Guy’s Hospital in London. She began painting in the 1950s when recovering from tuberculosis on the Isle of Wight and is mostly self-taught. She took brief classes in clay over wire sculpture, which she continued to practice, destroying all but one work as they failed to meet her standards. She began painting in earnest on the spur of the moment in 1953, and almost despite herself, she realised her deep desire to paint and declared ‘I shall have to spend the rest of my life fighting for it’. She maintained her strict standards and destroyed all her work of this period, though she cites the Abstract Expressionists (such as Jackson Pollock) as influences at this time. After travelling and working in Italy (where she sold her first work) and France, she returned to Ireland and began to exhibit. Her first solo-exhibition was in 1956 in the El Habano Restaurant, Dublin. In 1957 she first exhibited in the Irish Exhibition of Living Art where she received critical acclaim and sold all works submitted. She won an Italian Cultural Institute scholarship to Italy for a year in 1958. When living on Aichill Island she began wearing her signature black woollen beret of the local fishermen, to keep her hair out of the way when working.
    [Show full text]
  • Stan Smith – Irish Poetry and the Construction
    139 Book Reviews: Writers at Work in Ireland and England Irish Poetry and the Construction of Modern Identity: Ireland between Fantasy and History. By Stan Smith. Dublin: Irish Academic Press, 2005. x + 238 pp. $65.00 cloth, $29.50 paper. The world is not wanting in histories of Irish poetry, or even of twen- tieth-century Irish poetry in particular: I know of at least ten since 1988. Nevertheless, Stan Smith’s Irish Poetry and the Construction of Modern Identity represents an important accomplishment. Smith’s color title, “Ire- land between Fantasy and History,” suggests precisely what he’s after—the ways in which poetry has functioned in the self-conscious shaping of mod- ern Irish identities. Smith’s interest in what he calls, while discussing Pa- draic Fallon, “the compounding and interpretation of story and history” (39), develops from the work he’s undertaken in such books as Inviolable Voice: History and 20th-Century Poetry (1982) or The Origins of Mod- ernism: Eliot, Pound, Yeats and the Rhetorics of Renewal (1994). Smith has always attended to how ideology yokes together signifier and signified. In this book, however, perhaps because questions of tradition and nation have been more overtly a part of nation-building in Ireland than in Britain, post-structuralist and post-colonial theory have inflected Smith’s atten- tion in ways rather more dramatic than I have seen in his earlier work. Theory is rarely Smith’s overt topic; it shows up rather in his ability to see organization rather than organicism, history subjected to question rather than nature subjecting us.
    [Show full text]
  • 'Muting the Klaxon: Poetry, History, and Irish Modernism'1
    1 Tim Armstrong 1 ‘Muting the Klaxon: Poetry, History, and Irish Modernism’ This is an uncorrected and reset version of the original article which appeared as: ‘Muting the Klaxon: Poetry, History, and Irish Modernism,’ in Modernism and Ireland: The Poetry of the 1930s , ed. Patricia Coughlan and Alex Davies (Cork: Cork University Press, 1995), pp.43-74. In the winter of 1923-24 a periodical called The Klaxon appeared in Dublin. It was the only issue of what was hopefully announced as a ‘seasonal’ quarterly. The table of contents makes interesting reading: 2 Confessional . L. K. E. Beauty Energised . F. R. H. The Midnight Court (from the Irish). Percy Ussher North. H. Stuart Cheese . .John W. Blaine The Will of God. Sechilienne The Ulysses of Mr. James Joyce . Lawrence K. Emery Cleopatra. F. R. Higgins An Inghean Dubh. G. Coulter Picasso, Mamie Jellett and Dublin Criticism. Thomas McGreevy Seeking, as its editorial note suggests, to link itself to International Modernism, The Klaxon has a Brancusi-like cover device and a ‘Negro sculpture in wood’ as frontispiece. The ‘Confessional’ by Lawrence Emery which opens this Irish Blast has a fine ranting tone: ‘We railed against the psychopedantic parlours of our elders and their old maidenly consorts, hoping the while with an excess of Picabia and banter, a whiff of Dadaist Europe to kick Ireland into artistic wakefulness.’ The aggressive Modernism of the doomed journal, and the harshness of the context it expects to insert itself into, is evident in its defense of Joyce and Picasso against philistine taste. The inclusion of Ussher’s translation of ‘The Midnight Court’ also carries a political weight – its bawdy invoking a different Irish tradition from that of the Celtic Twilight (it was to be republished in 1926 with an polemical introduction by Yeats).
    [Show full text]
  • Austin Clarke Papers
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 83 Austin Clarke Papers (MSS 38,651-38,708) (Accession no. 5615) Correspondence, drafts of poetry, plays and prose, broadcast scripts, notebooks, press cuttings and miscellanea related to Austin Clarke and Joseph Campbell Compiled by Dr Mary Shine Thompson 2003 TABLE OF CONTENTS Introduction 7 Abbreviations 7 The Papers 7 Austin Clarke 8 I Correspendence 11 I.i Letters to Clarke 12 I.i.1 Names beginning with “A” 12 I.i.1.A General 12 I.i.1.B Abbey Theatre 13 I.i.1.C AE (George Russell) 13 I.i.1.D Andrew Melrose, Publishers 13 I.i.1.E American Irish Foundation 13 I.i.1.F Arena (Periodical) 13 I.i.1.G Ariel (Periodical) 13 I.i.1.H Arts Council of Ireland 14 I.i.2 Names beginning with “B” 14 I.i.2.A General 14 I.i.2.B John Betjeman 15 I.i.2.C Gordon Bottomley 16 I.i.2.D British Broadcasting Corporation 17 I.i.2.E British Council 17 I.i.2.F Hubert and Peggy Butler 17 I.i.3 Names beginning with “C” 17 I.i.3.A General 17 I.i.3.B Cahill and Company 20 I.i.3.C Joseph Campbell 20 I.i.3.D David H. Charles, solicitor 20 I.i.3.E Richard Church 20 I.i.3.F Padraic Colum 21 I.i.3.G Maurice Craig 21 I.i.3.H Curtis Brown, publisher 21 I.i.4 Names beginning with “D” 21 I.i.4.A General 21 I.i.4.B Leslie Daiken 23 I.i.4.C Aodh De Blacam 24 I.i.4.D Decca Record Company 24 I.i.4.E Alan Denson 24 I.i.4.F Dolmen Press 24 I.i.5 Names beginning with “E” 25 I.i.6 Names beginning with “F” 26 I.i.6.A General 26 I.i.6.B Padraic Fallon 28 2 I.i.6.C Robert Farren 28 I.i.6.D Frank Hollings Rare Books 29 I.i.7 Names beginning with “G” 29 I.i.7.A General 29 I.i.7.B George Allen and Unwin 31 I.i.7.C Monk Gibbon 32 I.i.8 Names beginning with “H” 32 I.i.8.A General 32 I.i.8.B Seamus Heaney 35 I.i.8.C John Hewitt 35 I.i.8.D F.R.
    [Show full text]
  • 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.
    [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]
  • Irish Studies Round the World – 2019
    Estudios Irlandeses, Issue 15, March 2020-Feb. 2021, pp. 242-276 __________________________________________________________________________________________ AEDEI IRISH STUDIES ROUND THE WORLD – 2019 Christina Hunt Mahony (ed.) Copyright (c) 2020 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Introduction Christina Hunt Mahony ……….………………………………………………………..….. 243 A History of Irish Modernism. Gregory Castle and Patrick Bixby, eds. Feargal Whelan ……..……………..………………….………………………………….…245 Constellations: Reflections from Life. Sinéad Gleeson Melania Terrazas …...………………………………….………………………….………...248 Dublin Palms. Hugo Hamilton Denis Sampson…………..………………………….…..…………………………………...250 Making Integral: Critical Essays on Richard Murphy. Benjamin Keatinge, ed. Elsa Meihuizen……..………………………………..…………………………………........252 The Collected Letters of W. B. Yeats, Volume V: 1908-10. John Kelly and Ronald Schuchard, eds. Nicholas Grene………………………………….…………………………………………...255 Over the Backyard Wall: A Memory Book. Thomas Kilroy George O’Brien ………...…………………………..……………………………………….258 A New History of the Irish in Australia. Elizabeth Malcolm and Dianne Hall Pauric Travers ……………………..……………..…………………………………………264 Notes to Self. Emilie Pine Éilís ni Dhuibne………….………………………..………………………………………...266 ISSN 1699-311X 243 Oscar Wilde and Contemporary Irish Drama: Learning to be Oscar’s Contemporary. Graham Price Pierpaolo Martino………...………………………..………………………………………..269
    [Show full text]
  • The Trinity College Dublin Art Collections
    The Trinity College Dublin Art Collections Artist: Norah McGuinness Title: Thames Medium: gouache b. 1903, Co. Derry d.1980, Dublin Norah McGuinness’ artistic career began when she was still a school girl while taking life drawing classes at Derry Technical School. In the early 1920s she studied Drawing and Fine Art Printing at the Metropolitan School of Art, Dublin, before studying at the Chelsea Polytechnic, London (1923-24) and at the studio of André l’Hôte in Paris. In addition to working as an artist, McGuinness also earned a living as a graphic designer, illustrator, theatre set designer, costume designer and window dresser (for Altman’s, New York and Brown Thomas, Dublin). McGuinness executed vivid, highly coloured, works in a spontaneous style influenced in part by the colourist Fauvist movement and by the Cubism she learned under l’Hôte. She favoured landscape and still life painting, and to both of these McGuinness brought a sense of design and colour along with the feeling of energy and life that, since the thirties, have been recognised as the hallmarks of her style. McGuinness began showing her work at the Royal Hibernian Academy (RHA) in 1924, and had her first solo show in London in 1933. In 1943 she helped found the Irish Exhibition of Living Art, and succeeded Mainie Jellett as President of the organisation in 1944, where she remained in term until 1970. In 1950, McGuinness represented Ireland at the Venice Biennale with Nano Reid-this was the first time Ireland had participated in the Biennale. Seven years later, she became an honorary member of the RHA.
    [Show full text]
  • Downloaded from Downloaded on 2020-06-06T01:34:25Z Ollscoil Na Héireann, Corcaigh
    UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann Author(s) Lawlor, James Publication date 2020-02-01 Original citation Lawlor, J. 2020. A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2020, James Lawlor. https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/10128 from Downloaded on 2020-06-06T01:34:25Z Ollscoil na hÉireann, Corcaigh National University of Ireland, Cork A Cultural History of The Great Book of Ireland – Leabhar Mór na hÉireann Thesis presented by James Lawlor, BA, MA Thesis submitted for the Degree of Doctor of Philosophy University College Cork The School of English Head of School: Prof. Lee Jenkins Supervisors: Prof. Claire Connolly and Prof. Alex Davis. 2020 2 Table of Contents Abstract ............................................................................................................................... 4 Declaration .......................................................................................................................... 5 Acknowledgements ............................................................................................................ 6 List of abbreviations used ................................................................................................... 7 A Note on The Great
    [Show full text]
  • Whyte Sarah Gates BA Managing Director Director This Catalogue
    , WHY TE S SINCE 1783 IRISH & BRITISH ART 12 MARCH 2012 IRISH & BRITISH ART MONDAY 12 MARCH 2012 VIEWING Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 Friday 9 March, opening reception and gallery talks 6pm to 8pm Saturday 10 March 10am to 6pm (Gallery Talk 3pm) Sunday 11 March 10am to 6pm (Gallery Talk 3pm) Monday 12 March 10am to 6pm AUCTION Monday 12 March at 6pm Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 ENQUIRIES Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] BIDS Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] On-line bids: www.whytes.ie Front cover: lot 43, Charles Edward Perugini, Lovers In A Garden Inside front cover: lot 135, Patrick Hennessy, The Fledgling Page 8, 9: lot 52, Thomas James Mulvany, Coast Scene - Noon: Peasants Winnowing Corn, 1838 Page 90: lot 41, Grace Henry, Coming Home, Achill Island, c.1915 Page 92: lot 42, Sarah Henrietta Purser, Woman With Fan Page 94: lot 96, Study For “The Blue Window”, 1961 Back cover: lot 29, Jack Butler Yeats, On The Courthouse Steps, 1946 PLEASE NOTE The exhibition of works from this sale will take place at ROYAL DUBLIN SOCIETY, CLYDE HALL, ANGLESEA ROAD, BALLSBRIDGE Friday 9 March 6pm to 8pm Saturday 10 March 10am to 6pm Sunday 11 March 10am to 6pm Monday 12 March 10am to 6pm The auction will be held on Monday 12 March at 6pm at ROYAL DUBLIN SOCIETY, CLYDE HALL, ANGLESEA ROAD, BALLSBRIDGE BALLSBRIDGE MERRION OAD ROAD R WHYTE ,S R D S M A I N HALL ENTER HERE ANGLESEA COLLECTION OF PURCHASES Collection of purchases at this sale may be effected 10am to 3pm on Tuesday 13 March from Clyde Hall.
    [Show full text]
  • Flashes of Modernity: Stage Design at the Abbey Theatre, 1902- 1966
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Flashes of modernity: stage design at the Abbey Theatre, 1902- 1966 Author(s) McCormack, Christopher Publication Date 2018-08-31 Publisher NUI Galway Item record http://hdl.handle.net/10379/14988 Downloaded 2021-09-28T08:53:59Z Some rights reserved. For more information, please see the item record link above. FLASHES OF MODERNITY: STAGE DESIGN AT THE ABBEY THEATRE, 1902-1966 A Doctoral Thesis Submitted to the O’Donoghue Centre for Drama, Theatre and Performance at National University of Ireland Galway By Christopher McCormack Supervised by Dr. Ian R. Walsh August 2018 2 ABSTRACT Responding to Guy Julier’s call for a “knowing practice” of design studies, this doctoral thesis reveals Ireland’s negotiation with modernity through stage design. I use historian T.J. Clark’s definition of modernity as “contingency,” which “turn[s] from the worship of ancestors and past authorities to the pursuit of a projected future”. Over the course of 60 years that saw the transformation of a pre-industrialised colony to a modernised republic, stage designs offered various possibilities of imagining Irish life. In the same period, the Abbey Theatre’s company shuttled itself from small community halls to the early 19th-century Mechanics’ Theatre, before moving to the commercial Queen’s Theatre, and finally arriving at the modern building that currently houses it. This thesis shines new light on that journey. By investigating the design references outside theatre, we can see how Abbey Theatre productions underlined new ways of envisioning life in Ireland.
    [Show full text]
  • WB Yeats and Modernist Poetry
    5 LAURA O’CONNOR W. B. Yeats and Modernist Poetry I Widely acclaimed as a major modernist and a foundational Irish-national poet, W. B. Yeats is essential to any discussion of Irish-modernist poetry. However, among the major Irish modernists – Yeats, James Joyce, and Samuel Beckett – only Joyce’s modernism is uncontroversial, not least for generational reasons. Yeats was born twenty years before and Beckett twenty years after most of the acclaimed high modernists, who, like Joyce, were born in the 1880s. A Victorian and self-professed “last Romantic” as well as a modernist, Yeats upsets the supposition that modernism constitutes a radical departure from what precedes it. Yeats’s publishing career corre- sponds exactly with the c.1890–1939 periodization of modernism: Oscar Wilde favorably reviewed Yeats’s The Wanderings of Oisin in 1889, and – at Yeats’s request – “Under Ben Bulben” was published in Irish newspapers after his death in 1939. Although Beckett is less known for his poetry than for his prose and plays, his poems in English and French extend from the prize-winning “Whoroscope” (1930) to “Comment Dire” (1989), so that their joint poetic production spans a century. Sanctioned by the expansionist trend of new modernist studies, many critics treat “modernism” as cover- ing the long twentieth century, or as radical aesthetic responses to moder- nity from roughly Charles Baudelaire to the present. This essay adopts that longer perspective, but concentrates on the 1930s–1950s period, between the heyday of 1920s high modernism and the second eff orescence of Irish poetry in the late 1960s.
    [Show full text]