Paul Henry: an Irish Portrait

IRISHARTS REVIEW PAUL HENRY: AN IRISH PORTRAIT

Paul Henry (1876-1958)was one of the While it issixteen years since a the riseof Irishnationalism in the nine most influential artists to work in retrospectiveexhibition was held teenth century or the LiteraryRevival at Ireland during the first decades of this in Irelandof thepaintings of Paul the turn of this century-organized an century. Along with Walter Osborne, exhibition of modern paintings inDub Jack B. Yeats and Sean Keating in the Henry, theprices of his pictures lin which included works by Daumier, South and John Lavery and William have increaseddramatically and Degas, Manet, Monet, Whistler and Conor in theNorth, his isone of the few hiswork iswidely known.Here, others.5 Russell hoped to do for the 'household'names among the listof Irish Dr Brian Kennedy, who is visual artswhat thewriters of theRevival painters. To a considerable extent he preparinga biographyof Henry, had done for the literaryarts. He felt that founded single-handedly what one careerand the to achieve his purpose, rather than en might call the Irish school of landscape describesthe artist's courage the exhibition of works by only painting. Certainly, he largely fostered influencesupon him, and evaluates the foremost Irish artists, which would the popular view of the Irish landscape,a his contribution to Irishart. have been chauvinistic, one should ex view which fitted well with the social hibit the best of contemporary painting aspirations of the times. Moreover, as ivatives.Essentially, Modernism marked from outside Ireland, particularly from with the work of many influential an abruptbreak with traditionand those France, so as to provide a yardstick by artists-Constable in Suffolk, Cezanne artistswho embraced it eschewed estab which the native artists could measure in Provence, for example-once one has lished formsof representationalpainting themselves.Alas, his objective, at least as seen a 'PaulHenry' it is difficult to visit and concerned themselveswith a more he envisaged it, was never reached and the west of Ireland and not to see it ideological and reflexive approach, in the whole business of the 'Irishnessof through his eyes. But, paradoxically, particular emphasizing qualities of the IrishArt' has been an issue of debate perhaps in part due to his early popular medium, of process and technique. amongst artists and historians ever since. ity and because his is a type of painting Modernism representedthe main thrust In 1904 Hugh Lane, also in an attempt to until recently out of fashion, it is only of development in the arts until about stimulate a genuinely Irish school of now thatwe have begun seriously to con the late 1960s. It is thereforeonly now painting, brought to theRoyal Hibernian sider the importanceand nature of his in that we are able to view it as a historical Academy many pictures from the fluence on Irish art. phenomenon. celebrated collection of James Staats Henry's principal contribution to Irish Ireland is usually regarded as having Forbes (1823-1904), an English railway art was twofold: first, and most import been late in encountering theModern manager and connoisseur, and thus set in ant, by the example of his early work he Movement; but this in fact was not so motion thewell-known eventswhich led encouraged an interest in avant-garde and for a time, at the end of the last cent to the foundation in 1908 of theDublin painting, inModernism, at a time when ury and the beginning of this one, a Municipal Gallery of Modern Art. it was frowned upon. Second, through number of Irishmen andwomen were in Forbes's collection was particularly rich the Society of Dublin Painters,which he the vanguard of the new art. George in paintings of the French Barbizon helped to found in 1920, he created, for Moore, for example, who was in Paris School and included numerous Corots. the first time in Ireland, a forumwhere during the 1870s, knew several of the Lane obtained favourable terms for the themore experimental artists,who were leadingpainters of the time and was one purchaseof many of theworks exhibited usually ignored by the Royal Hibernian of their first champions;2Edward Mar provided that they went to a public Academy and other exhibiting bodies, tyn broughtworks byDegas andMonet3 gallery.6 In 1906 Lane brought French could show theirwork. Reflecting on att to Ireland in the 1880s, and Sarah Purser, Impressionist pictures, including sever itudes in Ireland towards avant-garde who had studied at theAcademie Julian al of his disputed Continental pictures, painting at that time,Henry later com in the late 1870s numbered Degas and to Belfast's Municipal Art Gallery,7 mented: "The French Impressionist Forain amongsther acquaintances.Also, while in 1911Ellen Duncan organized a movement," and, we might add, its after avant-gardepaintings were widely ex show of works by contemporary French math, "which had left such amark upon hibited inDublin earlier than inmany painters at the United Arts Club in the whole of European Painting, had largercentres, including either London Dublin,8 and the following year she passed without leaving a ripple ... upon or New York. Indeed, somuch was the brought to the same venue the first the complacent self satisfaction of this case that we might note here the main ex Cubist pictures to be seen in Ireland. Un country".'The expressions 'Modernism' hibitions of suchworks in Irelandduring fortunately neither the catalogue nor and 'ModernMovement' are omnibus what were PaulHenry's formativeyears. reviews of the exhibition enable us to termsused to embrace those avant-garde In 1884, the year of the first Salon des In identify the works shown on this occa tendencies, prevalent in the visual arts in dependants in Paris, James McNeill sion;9 all we know is that they included the first half of this century, to which Whistler exhibited twenty-sixworks, in works by Picasso, Gris, Marchand and most of those artists subscribed.Gener cluding several of his then notorious Herbin. The first two names especially, ally speaking, the terms are regarded as 'Nocturnes' at the annual exhibition of however, suggest that they included representingthe main streamof develop the Dublin Sketching Club,4 and in some of the latest innovations. By com ment inWestern art from the time of 1899George Russell (AE), in the hope of parison, London had to wait until Roger Manet and include Impressionism,Post stimulating the development of a gen Fry's exhibitions, 'Manet and the Post Impressionism,Symbolism, Expression uinely Irish school of painting-signifi Impressionists',held in 1910-11 and 'Se ism,Cubism, Surrealism and their der cantly, Irishart was littleaffected by either cond Post-Impressionist Exhibition',

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held in 1912,before it saw suchworks in RobertMitchell Henry (d. 1891)and his Whether he was in fact offered this job is large numbers; and the so-called 'Ar wife Ann Berry (d. 1928). His eldest unknown and it would, perhaps, have mory' show held inNew York in 1913was brother, R.M. Henry (1873-1950), was been contrary to his inclinations to ac the first occasion on which modern art alsowell-known, having been a professor cept it.Moreover, from about that time, was seen there in quantity. Yet for all this of Latin at Queen's University, Belfast, with his funds running short, he became activity on the part of a few individuals from 1907-38, a prominent advocate of conscious of the need to earn his living therewas almost complete apathy in the Home Rule for Irelandand the author of and so about 1900-01 he moved to Lon Irishpublic formodern art and theRoyal The Evolutionof SinnFein (Dublin,Talbot don and for a number of years did black Hibernian Academy, despite Lane's ef Press,n.d.). Life in theHenry household andwhite illustrations forpublication in forts to help it in a number of ways, stead was rather severe and the Rev. Henry's books, magazines and newspapers. fastly refused to have anything to dowith strictly observed Protestant fundament While in Paris he had met the Scottish Modernism. Such, indeed, was to be its alism ensured a rigorous code of discip painter, Grace Mitchell (1868-1953), stance even until our own times. line which was maintained even after and they were married in September 1903. For his part Paul Henry adopted an his death. Writing towards the end of Together theHenrys shared lodgings in almost Post-Impressionistmanner and his life in Further Reminiscences,Paul London with Robert Lynd,'5whom Paul he was the first Irish artist to do so. The recalled that as children he and his had known at school inBelfast, until the main influences on him were the nine brotherswere 'held together'by a kind of latter'smarriage to the writer, Sylvia teenth century French painter of peasant parentaldespotism. They were not allow Dryhurst (1888-1952), in 1909. Lynd life,Jean Francois Millet, Van Gogh and ed to mix with or even to speak to other and his bride spent their honeymoon on the American-born painter, James children. 'We"were not as other child Achill Island and, on hearing their en McNeill Whistler, whom hemet inParis. ren" ... we were like four "infant Sam thusiasm for the islandwhen they return He first became acquaintedwith Millet uels,'' he said. In no other way could he ed, Paul and Grace Henry decided to go as a boy in Belfast through Alfred Sen explain the efforts thatwere made by his and see the place for themselves. Thus sier's biography'0 and later saw his pic parents to keep them 'unspotted' from they first visited Achill probably in the tures for himself in Paris, where he also the world. 12 It is not surprising, summerof 1910and they stayed there for saw those of Van Gogh whose bold therefore, that he later rebelled against almost a year. In 1912 they settled on brush-work and strength of colour im this background and, once having left Achill and, apart from painting forays pressed him. But Whistler, through his Belfast 'with only a scanty handful of and visits to Belfast and other parts of the emphasis on closely modulated tones regrets','3as he puts it, never again lived country, it was their home until late in and the more abstract qualities of the there.But he admiredother aspectsof his 1919when theymoved toDublin. How composition, had the greatest and the father's character and in later life was ever during the mid-twenties their most lasting influenceon him.Whistler's grateful to him for the discipline of the marriage went sour, Grace had a brief influence firstdominated his earlywork, 'compulsory'walks which he tookwith flirtationwith another man and in 1924 which comprisedmainly illustrationsfor his children in the country, especially by Paulmet Mabel Youngwho had recently books and journals and occasional char the river Lagan, for these gave him a come from England to work in the Shel coal drawings of landscape (none of his lasting preference for country over city bourne Hotel. In 1930, after protracted early oils appears to have survived), done life. legal negotiations, they separated-they in the first decade of this century when While still at school Paul Henry were never divorced-and Paul and he was living and working in London; studied art for a time under Thomas Mabel Young settled in Enniskerry,Co. but when he firstwent toAchill Island, Bond Walker (1861-1933), awell-known Wicklow, where they lived until the in 1910, the life of the peasant communi portraitpainter inBelfast. He then spent 1950s.Grace, sadly, spent the rest of the ty there recalled Millet who was his in a year or so at the local college of art '30swandering alone; she painted from spiration for the next ten years. before going to Paris about 1898, the lat time to time in France and Italy but on Thereafter, until the late twenties, traces ter visit being made possible by the the outbreak of war in 1939 returned to ofWhistler predominate.These influen generosity of his cousin (Sir)John Henry Ireland to live in an assortment of hotels, ces represent the two poles of his mature MacFarland (1851-1935), a prominent guesthouses and, occasionally, with her art, namely, from 1910-19, genre scenes educationalist and sometime chancellor friends.She died inAugust 1953and Paul of peasant life; and, from about 1920- 21, ofMelbourne University, who paid his thenmarried Mabel Young. PaulHenry landscape, increasinglydevoid of figures. way. In Paris he studied art for two or died on 24 August 1958 and Mabel, his For the art historian the main problem in threeyears, first at theAcademie Julian, second wife, died in 1974. unravelling Paul Henry's career is to where sound academicdraughtsmanship While the main events in Paul Henry's elucidate the development of these two was emphasized in the teaching and, life are, as we have said, well known, the aspects of his art and to chart his later secondly, at Whistler's Academie Car difficulty for the biographer arises in try treatment of landscape. men, where he learned to modulate ing to extend the known facts, forHenry The main events in Henry's life are tones in themanner characteristicof his had scant regard either for the details of well-known, principally from his two later work. Henry clearly impressed his personal lifeor for the chronology of published autobiographies,An IrishPor Whistler who, in September 1899, sug his paintings, which he nearly always trait and FurtherReminiscences." Henry gested that, of the students, he should be signed but rarelydated. The task, there was born at 61University Road, Belfast, given the jobof looking after the routine fore, is twofold: firstly, one must con in 1876, the thirdof four sons of theRev. financial affairs of the academy. '14 struct an accurate and detailed chrono

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logyof his lifeand career;and, secondly, bog landwhich he drew and painted time he had seen in the Louvre. As inMillet, one must try tomatch the body of his and time again.2" 'Water Meadows', too, Henry's landscape has a certain work with that chronology. Henry was c.1907-10, a charcoaldrawing now in the monumentality and inspires a sense of egocentric and occasionally used artistic Ulster Museum, was almost certainly timelessness-the latter quality also is licencewith historical facts in the same done at that place and time and even for a general characteristic of his work way as he might have done in a painted such an early work his compositional attributes which suggest the religious composition. Only a small handful of technique of dividing the picture plane andmoral beautywhich isoften associat dates arementioned in his two autobio into two distinct parts, the upper dom edwith labour.Henry exhibited this and graphies, and thesemust be treatedwith inated by cloud formations, the lower similar pictures for the first time in the caution, and neither GraceMitchell nor given to the landscapewhich is rendered exhibition with his wife inBelfast during Mabel Young is mentioned in either with littledetail, the twoparts being link March 1911.Reviewing that show, the book, although An IrishPortrait is dedi ed by the upward thrust of a tree or some NorthernWhig admired their departure cated to the latter.Moreover both books other compositional device, shows feat from the conventional way of inter dealwith his careeronly until about 1920 ureswhich remainedcharacteristic of his preting the landscape.They "have flung or so. Next to his years in Paris, the big work throughhis career.The mood evok away the accepted formulas as boldly as gest event in PaulHenry's life undoubt ed by his handling of this scene is similar Synge did when he began to do in drama edly was his first visit to Achill. In an to that in many of his early Achill works what they have set themselves to do in early draft of An IrishPortrait he tells us so that it is not surprising that he felt his colour" it commented, and admiredPaul that this took place in 1913,but the book arrival on the island to be a sort of home Henry's 'Prayerfor theDeparted' 1910-11 itself states 1912.16 However, in an coming.22Also, earlier in 1910, as the (presentwhereabouts unknown), "which advance notice of the exhibition 'Paint result of a meeting which he had with has the dignity of the closing scene in ings of Irish Life: Mr. & Mrs. Paul Hugh Lane andDermod O'Brien, he had Ridersto theSea," and 'OldPeople Watch Henry', held at Pollock'sGallery, Belfast, exhibited for the first time at the Royal ing a Dance', 1910-11 (private collect inMarch 1911, theNorthern Whig noted Hibernian Academy and so had already ion), a reminder that "dignity does not that both Paul and Grace Henry had re renewed his tieswith Ireland.When he depend on the subject but on the manner cently been on Achill "forclose on a year first arrived inAchill Henry was thirty in which it is treated."23 The Belfast ... living amongst the people and get four years old and although he had carv News Letter concurred with these views ting to know them?'"7Henry, in fact, ed a niche for himself as an illustrator he and singledout forpraise the 'PotatoDig went to Achill for a fortnight's holiday was clearlydrifting away fromsuch work. gers'which itnoted had been influenced which he hoped to financewith a sort of Moreover, in the lightof his other activit byMillet, as being particularly success rovingcommission from theGraphic and ies and the growing number of his early ful.24Henry's firstDublin showing of his themagazine Black andWhite to prepare exhibitions- he had contributed regular Achill paintingswas in a joint exhibition drawings for illustrationsof the country ly to group shows at theGoupil Gallery, with Grace Henry, Count Casimir and its people. But, with artistic licence, London, from 1904, held a joint exhibit Dunin-Markievicz,Mrs. FrancesBaker25 he laterwrote in An IrishPortrait that ionwith Grace at theUlster Arts Club, and George Russell (AE) at the Lein once on Achill he wanted to stay there. Belfast, in 1907, showed at the Belfast sterHall inOctober 1911.Of his subse "Ihad never planned anything,"he said. Art Society in 1908 and 1909, and ex quently better-known works on that "Ialways felt the urgeof lifeshould not be hibited at the Royal Academy, London, occasion he showed 'Launching the impeded and frustrated, and so far I had in 1910-it is clear that he was moving Curragh', 1910-11 (National Gallery of just drifted on the currents of life . . . I towards a career as a painter. The Achill Ireland[NGI]), and 'ClareIsland' 1910 made another of my quick decisions, visit thereforewas timely for him; the 11 (whereabouts unknown), the latter which I never regretted and takingmy island provided the subject-matter he epitomizing that feeling of timelessness return ticket toLondon out ofmy pocket subconsciously sought and the peasant to which we have alluded. But the Irish tore it into smallpieces and scattered the ry reawakened his early interest in Times,however, did not care forhis work, fragments into the sea?"8The truth of Millet. finding the "purple and green of his this story seemsdubious, even though he These points are well illustrated in crudely composed 'Bog' [this picture first told it to an IrishTimes reporter as 'PotatoDiggers c.1910-11, one of his cannot now be identified] . .. peculiarly early as 1925 and repeated it in a BBC firstAchill pictures and one of his best distasteful'126 broadcast in 1938,'9 and in any case he ever works. Here the composition is His technique developed slowly in retained an address inLondon until the succinct-the two-part division of the these years and inMarch 1913 when he autumn of 1912;20 but no doubt it picture planewhich we have alreadynot showed at Pollock'sGallery inBelfast he appealed to his romantic spirit! But as far ed, the upward thrustof the figures link included another version of the 'Potato as his painting is concerned, from 1912 at ing these two parts-and the ruggedly Diggers painted in 1912 (NGI), inwhich the latest he painted exclusively Irish dressed figuresbent in toil express con the figure bending to the leftwith one subjects. cisely thewordly lot of such people. The arm outstretched is obviously a quotat About the summer of 1908 Paul and influenceof Millet isclear, the pose of the ion fromMillet's 'Gleaners',and the 'Turf Grace Henry and Robert Lynd went to figures owes much to 'The Spaders', Carrier', c.1912-13 (private collection), live at Knapp Hill, near Guildford, in which he knew from the illustration in where the pose of the figure can be traced Surrey. There Paul was inspired by the Sensier's Life, and to the two figures who to illustrations in Sensier's book. The red landscape, particularlywith one area of work in unison in 'TheGleaners', which skirts and petticoats depicted in these

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works were, he tells us in An Irish Portrait, seems to have sold relatively fewpictures In those works done on Achill, Paul almost universallyworn by thewomen of at his various exhibitions in these years Henry developed a style perfectly in har Achill at that time. Of his purely land and the sameworks-or perhaps others mony with his surroundings. In his treat scape paintings of these years we have with similar titles-turn up again and ment of figures,as well as his landscapes, already mentioned 'Clare Island' but again as do his charcoal drawings such as he produced archetypes of the west of 'Connemara Landscape', 1913 (private 'TheMountainy Man' or 'AMan of the Ireland,much asMillet had done with collection), one of his very few dated West', both 1910-19 (NGI). But several the peasants inFrance. Yet, unlikeMillet works and thus useful as a guide to his press reportsdo mention the continued and the other French Realist painters, handling of the medium (oils) at the time, freshness, breadth and simplicity of his Henry's work has no social conscience, is also a good example and again demon work. In 1917 the IrishTimes thought he there is nothing didactic in it; it is the strates the sense of stillness characteristic was developing a decorative treatmentof work only of an observer. In this respect of his landscapes. As with his figure com the landscapewhereby his imagerywas hemight be comparedwith JackB. Yeats, positions the range of colours is limited not realistic but was symbolically Irish his associate from 1920 in the Dublin in these works. Some measure of his and it singled out the 'Fairy Thorn' Painters'Society andwho had visited the growing prominence at this time was the "where'"it said, "the artist seems to have West with Synge in 1905,who also was inclusion of three of his pictures 'ALoad learned something from Japanwithout strictly an observer. But whereas Yeats of Turf', 'Field-Workersin Achill' and 'A giving a foreign character to the land worked from what he called 'a pool of Prayer for the Departed' in the exhibit scape, which could only be Irish."28memories' distilled through his sketch ion of Irish art at the Whitechapel Art Indeed, as here, the tendency to flatten books, Henry merely recorded, never Gallery, London, in summer 1913.This the picture plane and to emphasize the interpreted.Thomas MacGreevy, an im was the first time his work had been abstract nature of the various forms, portant critic, however, did not admire included in such an exhibition.27 influences fromWhistler and Japanese what he called Henry's habit of 'over It is difficult to plot the development of prints, we shall see extended in his pic dramatising' the Irishpeasants. "He sees his work between 1913 and 1920. He tures of the early '20s. them through the eyes of a Post-Impres

Am~~~~~~

Potato Diggers, c. 191 0-1 1, oil on canvas, 71 x 81 cms. Private collection, Co. Cork.

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sionist Frenchman" he said. "Those forts. Also, she had a different outlook On their arrival in Dublin the Henrys hideous elementals set standing on a hill on life to Paul and sought brighter lights. took a flat at 19 Lincoln Chambers but top against a stormy sky are not Irish Writing to Robert Lynd in March 1915, early in 1920 moved to a studio at 13A peasants. They are wanderers from that Jimmy Good, a fellow-Belfastman then Merrion Row3" which they occupied for world of Neo-Romanticism, of unreal working as a journalist in Dublin, com the next ten years. This transfer to the Realism, to which the characters of, say, mented after seeing theHenrys who were city coincided with a new phase in Paul's Strindberg's plays belong."29MacGreevy visiting the city: "Mrs. Paul is very sick at work inwhich the figurecompositions of would have felt happierwith the Social the idea of having to go back to Achill & his Achill period gave way to landscapes realist manner of Sean Keating or failingParis her thoughts turn longingly devoid of people, a phase which lasted for Maurice MacGonigal, both of whom to St. Ives." And the following year he the rest of his career as a painter and in were more literary in suggestion, and told Lynd: "Mrs. Henry . . . needs to be the first five or six years of which he pro who are often thought of as the true cheered up; Achill is for her I think a near duced some of his best remembered pic guardians of the west. approach to purgatory", while inMarch tures. But of more immediate interest to Although the years inAchill were hap 1917 he wrote, again to Lynd: "Mrs. H. us is his involvement from the summer of py and fruitful for Paul Henry, his wife, has come to Dublin for the winter... 1920with the Society ofDublin Painters. Grace, was less content there and from Henry, of course, declines to stir from When he lived in London Henry fre that time one can trace the restlessness Achill."3"Such comments, unfortunate quented some 'at homes' organized by which, sadly,became part of her later life. ly,chart the deterioration in their relat the English painter, Walter Sickert Grace had been brought up to a more ionship from that time until they another pupil of Whistler-at his studio comfortable existence than could be pro separated in the late twenties. It seems in Fitzroy Street. In 1907 from these vided on Achill-her parents came from likely, however, that it was largely due to gatherings emerged the Fitzroy Street well-to-do familiesand money was plent Grace's insistence that they moved to Group which, revolving around Sickert, iful at home-and no doubt, being by Dublin late in 1919 and they were for a Spencer Gore, Harold Gilman, Robert then in her forties, shemissed her com time happy there. Bevan and Charles Ginner-all Post

Water Meadows, c. 1907-10, charcoal and white on paper, 34 x 46.5 cms. Collection Ulster Museum.

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Impressionists-was for a number of ically and culturally.The events which This was the volatile climate inwhich the years the centre of the English avant culminated in theAnglo-Irish Treaty of Society of Dublin Painters established garde.Between them themembers of the 1921 were of immediate consequence; themselves.They, however,were not par Group shared the expenses of running but the new Irishstate, when it came into ticularlyconcerned with nationality nor the Fitzroy Street studio. Out of this being in 1922, craved an identity for did they yearn for a distinctively Irish company was formed in 1908 theAllied which it turned to thewest, in particular School and, asBruce Arnold has remark Artists' Association-with which Paul to those areas where the traditions of ed of their generation,many of them felt Henry was also associated-which, guid Gaelic or 'Irish'Ireland were intact.Con a strain and a self-consciousness atwhat ed by the criticFrank Rutter (b.1876),was sequently as the '20swore on, the politi 'being Irish' meant,37 a predicament a non-jury exhibiting body determined cal and cultural climatewas increasingly aggravated by the times and, no doubt for to counteract the exclusiveness of the coloured by government-inspired poli several of them, by a background in the New English Art Club and to be a sort of cies of isolationism. To a considerable protestant ascendancy.But theywere the English version of the Salondes Independ extent this espousal of heritage centred first innovators in Ireland to disregard ants.33With thesemodels inmind, Paul on the culture of theGaelic Renaissance, the intransigence of the art establish and Grace Henry, in association with itself largely the creation of John Synge, ment and their gallery, small as it was, E.M.O'R. Dickey (anotherBelfast paint W.B. Yeats,George Russell (AE),Edward became an important venue for exhibit er), Letitia Hamilton, Clare Marsh, Martyn and Augusta Gregory, that is, ions before other commercial galleries James Sleator, Mary Swanzy and Jack B. ironically,of theAnglo-Irish of thirty or began to flourish. Yeats, formed the Society of Dublin so years earlier. As far as the visual arts From the outset the press generally Painters in about June 1920 to circum were concerned themain characteristic were enthusiastic about the new Society. vent the hostility of the Dublin art required in the period was Symbolism; In 1923, for example, the Freeman'sJour establishment towardsmodern painting. that works should not only arouse nal thought itwas producing some of the The Society took roomson the top floor national and patriotic sentiment but, in best painting in the country and a decade at 7 St. Stephen's Green and there held Cyril Barrett's words, they should also later the Irish Times in an editorial its first exhibition in August 1920. As define it; they should give someglimpse of thought it had become "an institution of well as regulargroup shows, each mem what the people were striving for,of the Ireland' putting the country "upon the ber was entitled to hold a one-man exhi values which they wished to preserve, map" of art. By 1942Stephen Rynne felt bition once a year. It is important here to and of the kind of life they intended to able to write in The Leader: "If a person rememberthat in those days art exhibit bring into being.35The full energy of the wanted to make an annual check-up of ions in Ireland,especially small and one state was devoted to this purpose, nota Irish art and had few opportunities for man shows,were not frequentevents and bly after Mr. de Valera's victory in the seeing exhibitions then he would best the latterwere almost unknown. Apart election of 1932, and he and his party re achieve his end by attending theDublin from the annual exhibitions of the mained in power until 1948, the longest Painters.Here are the liveliest of the liv Academy, the Dublin Sketching Club period of unbroken government in the ing painters, the explorers and experi and theWater Colour Society of Ireland, history of the state. In the words of the mentalists .... They paint what they fewcommercial galleriesor other venues historian TerenceBrown: will, for themost part their touch is light, existed where artists could exhibit their "cultural life in the new state was airy, deft"'38 In passing we might note work independently. Before its occupat dominated by a vision of Ireland ... as a some of the more avant-garde artists and ion by the Dublin Painters, the St. ruralGaelic civilization that retained an works sponsored by theDublin Painters: Stephen'sGreen premiseshad been used ancient pastoral distinctiveness. This vision Paul Henry showed a version of his as a studio by a number of artists, includ was projected by artists, poets and 'Potato Diggers' in 1920; E.M.O'R. ing an Italian painter called Catanio, polemicists despite the fact that social Dickey, who studied art under Harold who worked there around the 1850s, reality showed distinct signs that the Gilman, a member of Sickert's Fitzroy countrywas adapting to the social forms of StreetGroup, exhibited Post-Impression Augustus Burke (d.1891),Colles Watkins the world and that English-speaking ist landscapeswhich were in (1833-91), John Butler Yeats (1839-1922) conditions in rural Irelandwere hardly refreshing and Walter Osborne (1859-1903). On idyllic . . . this imaginative interpretation of comparison with the more sentimental Osborne's death Yeats again took it.34 Irish rural life ... served as an integrative work ofmost Irishartists. At the autumn Following Yeats, theGaelic League used symbol of national identity ....It helped to exhibition in 1923Mainie Jellett showed the studio for itsmeetings. Rooms adja confirm people in a belief in Irish two Cubist compositions,39 the first cent to this studio also had over the distinctiveness, justifying that political time that such pictures by an Irish artist years an artistic clientele, being various separatism which a revolutionary were seen inDublin; Cecil Salkeld, who ly occupied by the Dublin Art Club, movement had made a lynch-pin of studied art in Germany, showed works the portrait painter Sarah Cecilia political life in the state."36 done in the manner of the Neue Harrison (1863-1941), theRoyal Society And if the sceptic wanted proof of the Sachlichkeitmovement, which dominat of Antiquaries, Patrick Tuohy (1894 distinctive genius of the Irish people he ed European painting in the '20s. In the 1930), the Royal Hibernian Academy would be reminded of such works as the early '40s Ralph Cusack (1912-65), a School (c.1918-39) and Sean O'Sullivan Cross of Cong, theArdagh Chalice, the painter now almost forgotten,40exhibit (1906-64). Books of Kells and Durrow: Ireland, in ed some of the first mildly Surrealist The Society of Dublin Painters was short, had a glorious past in the arts and pictures to be seen in Ireland. inaugurated in unpropitious times polit could have an equally glorious future. As well as promoting the cause of

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avant-gardepainting through the Society it differentiates that which is regional late '20s, at a time when his domestic of Dublin Painters Paul Henry, along and parochial in outlook from that affairswere in disarray and his financial with Arthur Power (d.1984), organized which has more universal implications. difficulties were mounting, his work the exhibition 'SomeModern Paintings', "Without it,"said O'Doherty, "he could began to fall in quality and became ever held in Mills' Hall, Merrion Row, in be placedwith his imitators,regional sen more hackneyed. JimmyGood described January 1922 as part of Dublin Civic timent, playing for sentiment."43Yet, his situation at the time in a letter to Week. In all about thirty works were despite theseabstract qualities, one senses Sylvia Lynd: "Pauland Grace are having shown on that occasion including some also in him an intuitive reaction to the a very thin time, as the picture market in by theContinental artistsMaillol, Mar landscape-for Henry was no theorist Dublin is dead."But they had spirit, for chand, Modigliani and Vlaminck, but and an omnipresent awarenessof human he continued: "Asyou would expect they themajority were by the youngerBritish significanczein the eternal conflict be have decided to celebrate the run of ill painters, many of whom Henry had tweenman and the unpitying forces of luck by taking a furnished flat in Fitz known in London. Although the press nature. william Square at ?3.10[shillings] aweek spokewell of the show,Henry wrote later From this timeonwards he retained the with 10/- to 15/- extra for a cook. I admire that "It isdifficult to realise . . how deep compositional formula of boldly juxta their nerve but shudder at the reaction rooted was the ignorance and prejudice posed shapes,usually with the skyoccupy that is going to follow in the near future." which existed at that time against any ing at leasthalf of the composition, and And somemonths laterhe wrote to her formof artwhich savoured,even remote often, as in 'A Connemara Village', again saying that Paul was "desperately ly of modernism?'4' c.1923-30, picked out a few elements-a hard up and I don't see much chance of Although he had founded theDublin cottage, turf stacks, the play of light on himmaking money inDublin at present PaintersSociety, PaulHenry lastexhibit water-which he highlighted in greater or indeed for a long time to come.. ed there in 1926,but in those fewyears he detail than the rest of the composition. Grace is talking of another trip to Paris produced, as we have said, some of his Along with the latter picture, 'Lakeside and Idon't suppose the question of how best compositions. By the early '20shis Cottages' c.1923-30, is one of his best itwill be done troublesher in the slight manner was mature and his subject works of the time and represents the est.'45Perhaps, with these problems, it is matter-landscape devoid of figures quintessential PaulHenry. Such pictures not surprising that his enthusiasm for firmly established. Increasinglyhis pic helped to foster the popular view of the Modernism waned at the same time tures assume a sense of stillness and Irish landscape and fitted well with the despite having recently organized the timelessness renderedthrough a fewbold social aspirations of the times.His suc Dublin Civic Week exhibition-and he shapes, a limited palette, simplicity of cesses in these years also included a draw was to remain to the end, as his friend tone and, especially in the early '20s, an ingof Arthur Griffith which was bought Arthur Power observed, guided by the emphasis on the abstractqualities of the by the British signatories to theAnglo constructional theories he had learned composition, characteristics unmistak Irish treaty and subsequently presented in the Parisof 1900.Power also recounted ably Whistlerian. These features are to the Irishgovernment; and in 1922 the that some time later he suggested to evident in 'Dawn, Killary Harbour', French government purchased from the Henry that he should visit Paris again to c.1922-23, perhaps his best ever work. exhibition of Irish art then in Paris his seewhat theDadaists, theSurrealists and However, ifwe compare this picturewith 'Westof IrelandVillage' for the Luxem otherswere doing, but in replyhe shrugg the almost identical view in 'Leenane', bourg Gallery," a signal honour for an ed his shoulders, asking "Whatwould I 1913 (UlsterMuseum), one of his few Irishpainter at that time. get out of it?"46In the late twenties, too, dated works, it is clear that he had a bold About 1925 two of Henry's paintings, theredisappeared the sometimes vibrant approach to landscape even at that early 'Connemara'and a 'Viewof Lough Erne' colours of his earlierwork and the land stage although his brushwork was then (whereabouts of both unknown) were scape,both literallyand metaphorically, much more prominent and less assured. reproduced as posters for the London seems to have subdued him. As in the Killary Harbour picture, in Midland and Scottish RailwayCompany In 1930, afterhe finally separatedfrom these years Henry often observed the and distributed to tourist bureaux in Grace, PaulHenry leftDublin and settl landscape at dawn, savouring the still Europe andNorth America. The former ed in Carrigoona Cottage, near Ennis ness and purity of the air at that hour and picturewas also reproducedon the cover kerry inCo. Wicklow. There he andMabel in an interview with an Irish Times of the LMS booklet Travel in Ireland.His Young remaineduntil a year or so before reporter in 1941 said he had always been lucid stylewas well suited to contempor he died. He had rarelyvisited the west struck by what he called the 'other ary reproduction techniques which after his move to Dublin in 1919 and worldliness' and the 'senseof mystery' in demanded simplified shapes and the use from now on he painted mostly in Co. the Irish landscape.42The absence in his of only three or four colours. These Wicklow with only occasional forays work of literaryreferences, characteristic postersperhaps fixed the archetypal 'Paul elsewhere. In 1929 his 'CustomsHouse, of go many Irish painters, perhaps con Henry' in the public mind but, in the Dublin' c.1929 (private collection), was tributed to the underlying feeling for long run, being displayed in literally used as a poster forDublin Civic Week abstraction in his pictures. But, as Brian thousands of sites, they debased his and even at this date, in the thrust and O'Doherty remarked, this duality of memory more than it deserves. This, counter thrust of line and the simplicity abstraction underpinning an apparently perhaps, was the period of his greatest of the underlying forms, one can still representational landscape, makes the esteem by the public in his lifetime,but, sense the abstractnature of the composit best of PaulHenry's work important, for despite these successes, from themid to ion. But as his domestic life grewmore

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stable, his art became less adventurous fessorR.M. Henry' painted in 1933 for James Humbert Craig (1878-1944) or and often in his pictures painted in these The Queen's University, Belfast, is per Frank McKelvey (1895-1974), for years the composition devolved to a haps the best. As in his drawings, here example- showed a rigourcomparable to clicheand his brushwork and handling of the character of the sitter is conveyed thework of his years inAchill or the early the medium were at times insensitive, with assurance but the hands and the Dublin period and, by comparison, at although 'Kinsale,Co. Cork' 1939 and articulation of the arms areweak. Unfor best they remained raconteursof the 'Ballintoy, Co. Antrim' 1941 (both tunately this picture was destroyed in a landscape and at worst they turned his private collections), are more assured fire in the Great Hall at The Queen's vision into a formula. Lamb, Craig and even if a little repetitive. By the '30s, University some years ago. There are, McKelvey were often grouped together however, he had fallen prey to his own however, a number of photographs of it. by critics when reviewing the Royal imagery and popularity. Reviewing the Also, an exact copy in oils wasmade from Hibernian Academy exhibitions where RoyalHibernian Academy show in 1937 one of these photographs by T.E. Spence their works were easily compared one the IrishBuilder commented: "Tosay that and that copy now hangs in the special with another. In 1925 the Irish Times in No. 117['TheVillage on a Hill'] is a collections readingroom of the libraryat thought they and some of their fellow typical Paul Henry is nothing to his the university. Another copy of the Northeners virtually formed a 'Belfast discredit. PaulHenry would, no doubt, original portrait, painted by James school' of painting which, it said, "sur paint other things besides mountains if Sleator, P.R.H.A. (1889-1950), in 1948, passes the Southern painters.'48Indeed, his publicwould lethim. Seeing how well hangs in St. Salvator's Hall at the it is interesting to note that that school he does these mountains, one cannot University of St. Andrews where the sit of landscapepainting-which isperhaps blame his public for continually demand ter taught for a time after retiring from the nearest thingwhich has emerged this ingmore. One can only hope that itdoes Belfast. century by way of a distinctly Irish not become a vicious circle."47 About 1945or '46,as the resultof an ill school, Sean Keating and Maurice Henry painted few portraits and was ness, PaulHenry became virtually blind MacGonigal notwithstanding, at least as less at ease in this genre thanwith land and ceased painting; he then turned to popular imagination would have it scapes.His best examples undoubtedly writing and produced the two autobio which we have described as descending are all charcoal drawings and include his graphies to which we have referred. from Paul Henry through Lamb, Craig 'ConnemaraPeasant' 1910-19, done on Despite the repetitiveness of his later andMcKelvey andwhich was continued Achill -in works such as thiswe can see work, he never became an academic in the fifties and laterby Maurice Wilks the influenceof Van Gogh andDaumier, painter, andwhile the landscapeat times (1910-84) and numerous others, was an especially in his characterization of the subdued him it never humbled him. almost entirelyNorthern-inspired affair. sitter-and 'PresidentCosgrave' c.1922-3 Regardlessof the obvious influenceof his That is the legacyof PaulHenry's work. (private collection), the latter in retro work, Henry was a lone figure in Irishart spect arousing a certain pathos. Of his because none of his landscape contem portraits in oils that of his brother, 'Pro poraries-Charles Lamb (1893-1964), BrianKennedy

NOTES

a (The author is currently preparing biography of c.1880 and Two Harlequins', c.1885, and an of a Lady', lent by George Moore, and six Paul Henry and would be grateful to hear from any oil by Monet, 'A River Scene, Autumn'. All Whistlers, including 'Miss Cicely Alexander', or of are now reader who may have information about pic these works in the National the latter now in the National Gallery, London. tures by the artist.) Gallery of Ireland, Nos. 2740, 2741 and 852 6. The background to the exhibition of the were respectively. They bequeathed to the Staats Forbes pictures, the subsequent events 1. Paul Further a Henry, Reminiscences, Belfast, Gallery by Martyn along with Corot, which led to the opening of the (Hugh Lane) Blackstaff 68. Press, 1973, p. billows', No. 853. Municipal Gallery of Modern Art and the was 2. He one of the first to write about Degas 4. It was one of Whistler's 'Nocturnes' that issue of Lane's so-called 'Continental The Painter of Modern to accuse ('Degas: Life', caused Ruskin him in 1877 of Pictures' are set down in Thomas Bodkin, November a Magazine of Art, 1890, pp. 416-25) 'flinging pot of paint in the public's face', a Hugh Lane and His Pictures, Dublin, and Manet painted three portraits of him remark which led to their celebrated libel Stationery Office, 1932 and later editions. are the oils in 1878 and case. The exhibition (these painted 1879, 1884 also included his 7. 'Exhibition of Modern Paintings', Municipal now in the Museum of 'Portrait of Metropolitan Art, the Painter's Mother' (1871), now Art Gallery, Belfast, 20 April-26 May 1906. New and the Paul Mellon in York, Collection, the Louvre, 'Portrait of Thomas Carlyle' As honorary director of this exhibition, and the of Virginia, respectively, pastel 1879, (1872-3), Glasgow Art Gallery and 'Portrait which was arranged by a joint committee of also in the Museum. For details of Meux' Metropolitan Lady (1881-2), Frick Collection, the Ulster Arts Club, the Belfast Art Society of these works see Phoebe Poole and New York. Sandra Whistler intended to give the first and the Ulster Society of Architects, Lane The ever Orienti, Complete Paintings of Manet, reading of his 'Ten O'Clock' lecture-in hoped to encourage in Belfast an interest in Cat. Nos. 278A which he set down his stance-at Penguin Books, 1985, 251, aesthetic modern painting, as he was doing in Dublin. and Moore was a habitu? of the the exhibition but that did not 278B.) materialize. Indeed, in his introduction to the catalogue Nouvelle a caf? on the Place See Ronald Ath?nes, Anderson, 'Whistler in Dublin, of the exhibition he wrote (p. ix) "It seems as Pigalle. During the 1870s and later, it was 1884', Irish Arts Review, Vol. 3 No. 3, if it were ordained that Belfast should have of the writers 45-51. frequented by many leading pp. the honour of founding the first distinct and artists. It was there that he met Manet, 5. The exhibition was held at the Leinster Hall 'School' in Ireland." Degas, Renoir, Pissarro, Monet and Sisley. and included, amongst other works, Edward 3. two Martyn owned pastel drawings by Degas, Martyn's two pastels by Degas and his oil by 'Two Ballet Dancers in the Dressing Room', Monet (see note 3 above), a Manet, 'Portrait NOTES CONTINUED ON PAGE 54

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8. 'Works by Post-Impressionist Painters', 17. 'Pictures of Irish Life', Northern Whig, Belfast, 31. The rooms in Lincoln Chambers had United Arts 25 Club, Dublin, January 11March 1911. previously been the studio of the Dublin 1911. 14 February Many of the forty-seven 18. Henry, An Irish Portrait, op. cit., pp. 5-6. Arts Club (Good to Sylvia Lynd, letter of 11 works shown on this occasion were borrowed 19. 'Connemara for the Artist: Mr. Paul Henry's December 1919, Lynd correspondence); the from the exhibition 'Manet and the Post Experience', Irish Times, 4 August 1925 and Merrion Row studio had previously been at Impressionists' held the Grafton Galleries, 'As I See It', BBC radio, 29 March 1938, occupied by, amongst others, Nathaniel London, the previous November. The best respectively. Hone, RHA (1831-1917) and Walter known artists were included C?zanne, Denis, 20. The catalogue of the annual exhibition of Osborne, RHA (1859-1903) (Henry, Further Derain, Gauguin, Van Gogh, Maillol, Belfast Art Society, held in the Municipal Reminiscences, op. cit., p. 66). Marquet, Matisse, Rouault, Picasso, Signac Art Gallery, Belfast, during October 32. Henry, Further Reminiscences, op. cit. p. 67. and Vlaminck. Ellen Duncan (c.1850-1937), November of that year gives his address, as Sickert in these years was the most born in was a founder member of the for the as 13 Dublin, previous year, Pembridge sympathetic advocate in England of avant United Arts Club in 1907. InOctober W. 1914 Crescent, London, garde painting. In his studio he gathered Lane her curator of the appointed Dublin 21. Henry, An Irish Portrait, op. cit., p. 2. around him many of the young and of Modern Art. 22. Municipal Gallery Henry Papers, op. cit., TCD, MS 7415. progressive painters of his day. For a note on 9. See 'Modern French Pictures at the United 23. 'Paintings of Irish Life', Northern Whig, his 'at homes' see Robert Emmons, The Life Arts Irish Review 13March 1911. had met and Club', 11,May 1912, Henry Synge and Opinions of Walter Richard Sicken, 'Post and Cubeists' W.B. Yeats in Paris in 1898-9. pp. 164-6; Impressionists casually about London, Faber 6k Faber, 1941, pp. 133-4. Irish 29 March in he read Riders to the Sea. (sic), Times, 1912. Later, London, Hugh Lane also attended these meetings 10. Alfred "There was in Sensier, Jean-Fran?ois Millet: Peasant something Synge that (Wendy Baron, The Camden Town Group, and translated to me wrote. "He Painter, by Helena De Kay, appealed very deeply," he London, Scolar Press, 1979, p. 13). London, Macmillan 6k 1881. touched some chord which resounded as no Co., 33. For a note on the Fitzroy Street Group and 11. Paul An Irish other music ever had done" Irish Henry, Portrait, London, (An Portrait, the Allied Artists' Association see Wendy Further the Batsford, 1951; Henry, Reminiscences, op. cit., p. 48). Generally speaking Baron, Sicken, London, Phaidon, 1973, the latter at members of the Hibernian op. cit., published posthumously Royal Academy pp. 104-5. Although he frequented its the time of the exhibition of his may be considered as the of the retrospective exponents meetings, Henry was not a full member of more work held at Trinity College, Dublin and the conventional approach to landscape the former. Ulster in 1973. Brian which Paul shunned. Museum, Belfast, painting Henry 34. Katherine Tynan gives a vivid description of 'Paul 24. 'Mr. 6k Mrs. Paul News O'Doherty, Henry-The Early Years', Henry's Paintings', the studio during Yeats's occupancy in her Review is the first writer 13March 1911. University 11, 1960, Letter, Belfast, Twenty-five Years: Reminiscences, Dublin, 1913, to assess the influences on and the 25. Frances Baker of (1873-1944), painter mainly p.187. of work. with and occasional development Henry's landscapes figures 35. Cyril Barrett, 'Irish Nationalism and Art 12. Further For a brief note see Henry, Reminiscences, op. cit., pp. 15, portraits. biographical 1800-1921', Studies, winter 1975, p. 398. 20. Alan Printed W. Denson, Writings by George 36. Terence Brown, Ireland: A Social and Cultural 13. An Irish 8. Russell A Henry, Portrait, op. cit., p. (AE): Bibliography, Evanston, History 1922-79, London, Fontana, 1981, The was in a to Northwestern 14. suggestion made letter the Illinois, University Press, 1961, p. 98. teacher in of the Acad?mie Carmen. p. 222. charge 37. Bruce Arnold, A Concise History of Irish Art, Whistler's was should not... 26. The Five Artists: Pictures at Leinster phrase "why Hall', revised ed., London, Thames 6k Hudson, the little Irishman be run for Massier ..." Irish 16 October 1911. Times, 1977, p. 139. As was the Irishman to attend 27. 'Irish Art Henry only Art', Whitechapel Gallery, 38. 'Modern Artists', Freeman's Journal, 20 the Carmen this 21 1913. Acad?mie phrase clearly London, May-29 June Henry's October 1923; 'The Dublin Painters', Irish refers to him in the works were as Nos. 50 and 158 (Whistler Papers Library, catalogued 35, Times, 3 February 1933; The Leader, 21 ref: Whistler I am As Lane and Dermod Glasgow University, A29). respectively. Hugh February 1942, respectively. to O'Brien were grateful the University Court of the members of the exhibition 39. One of these may have been 'Abstract', 1922, of for to almost were University Glasgow permission committee, they certainly now in the Ulster Museum (No. 2296). from this letter. thanks are also for his selection. quote My responsible 40. In 1958 he published Cadenza: An Excursion, due to Mr. Ronnie Anderson of the 28. Irish 16 1917. depart Times, April London, Hamish Hamilton, a sort of ment of Art at the of St. 29. Thomas draft for an History University MacGreevy, article, autobiographical novel, but in it made no Andrews for attention to it. The Rise of a National School of drawing my Painting', mention of his painting. 15. Robert Wilson educated MS 8002-19. Lynd (1879-1949), MacGreevy Papers, TCD, 41. Henry, Further Reminiscences, op. cit., p. 65. at the Belfast Academical Institution 30. Letters of 21 March 11 1916 and 12 Royal 1915, July 42. H.L. Morrow, 'The Art of Paul Henry', Irish at March 1917 (RBAI) and The Queen's University, he respectively (private collection; Times, 1November 1941. went to Manchester to work on the hereinafter referred to as Daily Lynd correspond 43. Brian O'Doherty, op. cit., p. 26. before to London as a ence). James Winder Good (1872-1930), Dispatch going 44. As the collection at the Luxembourg Gallery freelance He later became well educated at RBAI he met Paul journalist. (where Henry) has long since been dispersed to other and is best as an i and had a known, remembered Queen's College, Belfast, French museums this picture is now in the his finest work under the career as a He essayist, appearing distinguished journalist. Mus?e National d'Art Moderne, Paris. It was 'Y.Y.'which he used in the New worked on the Belfast News Letter and the pseudonym bought from the exhibition 'World Congress Statesman were Northern before for a time to from 1913-45. His essays Whig going of the Irish Race', held at the Galeries collected in book form at intervals. Of his From 1918 until its closure in the Liverpool. Barbazanges, Paris, during January-February other books, Home Life in Ireland, London, early twenties he was a leader writer on the 1922. Mills 6k Rambles in Freeman's Journal. He was associated with Sir Boon, 1909, Ireland, 45. Letters of 5 October 1923 and 15 April 1924 Mills &. 1912 and Ireland a Horace Plunkett and Russell in London, Boon, George (AE) respectively (Lynd correspondence). the Irish Statesman and became its Nation, London, Grant Richards, 1919, are, founding 46. Arthur Power, 'Reassessments-17: Paul the best known. His assistant editor before to the Irish perhaps, wife, Sylvia, leaving join Henry', Irish Times, 29 June 1971. was a novelist and He was also for a time the Irish poet. Independent. 47. 'Wisbeach', Irish Builder, 1937, p. 480. for the New Statesman and 16. Paul Henry Papers, Trinity College, Dublin correspondent 48. 'Royal Hibernian Academy', Irish Times, was a founder member of the Ulster (TCD), MS 7415; An Irish Portrait, op. cit., Literary 6 April 1925. Theatre p. 48, respectively. (obituary,Belfast Telegraph,! May 1930).

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