(NGI.4529) EL.2013.2 National Gallery
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Free! Introductions / Réamhrá
Free! Introductions / Réamhrá On behalf of Donegal County Council, I am very Our newly-commissioned cover artwork is our happy to welcome the 24th Earagail Arts Festival, invitation to you to come and join us in the wilds which once again lights up the county’s summer of Donegal for an extended programme of street in a wonderful celebration of all that Donegal is circus, family and children’s events. As well as renowned for: the best of music, theatre, visual international music performances from as far afield arts and literature, to be enjoyed in that enviable as Mali and Palestine, this year’s festival hosts variety of intimate venues and spectacular settings home-grown stars of the nation’s indie scene, which we are privileged to have at our doorstep. I Beijing opera theatre and acclaimed UK and Irish am also delighted that the Festival is an enthusiastic drama productions. Coupled with intimate literary participant in Donegal County Council’s “Donegal and discursive events including Leviathan’s Political Gathering” initiative, preceding the national Cabaret and a celebration of the Field Day Theatre Gathering next year, and I look forward greatly to Company there’s no excuse not to visit Donegal what they have in store for 2013 and the years ahead. this summer. Cllr. Noel McBride, Paul Brown Mayor of County Donegal Festival Director Thar ceann Chomhairle Contae Dhún na nGall, tá Is cuireadh í an obair ealaíne nua-choimisiúnaithe áthas orm fáilte a chur roimh 24ú Féile Ealaíne an atá le feiceáil ar an chlúdach duitse a bheith linn Earagail, a chuirfidh brí agus beocht sa samhradh i gcontae álainn Dhún na nGall, áit a mbeidh clár Chonallach agus ar ceiliúradh iontach í ar na rudaí fairsing imeachtaí á reáchtáil againn – sorcas sráide, a tharraingíonn clú ar an chontae: ceol, drámaíocht, cuir i gcás, imeachtaí don teaghlach agus do pháistí. -
Of Painting and Seventeenth-Century
Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth-CenturyFrance Donald Posner "La representation qui se fait d'un corps en trassant making pictures is "mechanical" in nature. He understood simplement des lignes, ou en meslant des couleurs, est proportion, color, and perspective to be mere instruments in consider6e comme un travail m6canique." the service of the painter's noble science, and pictorial --Andre F61ibien, Confirences de l'Acadimie Royale de Pezn- elements such as the character of draftsmanship or of the ture et de Sculpture, Paris, 1668, preface (n.p.). application of paint to canvas did not in his view even warrant notice-as if they were of no more consequence in les Connoisseurs, ... avoir veus "... apr6s [les Tableaux] judging the final product than the handwriting of an author d'une distance s'en en raisonnable, veiiillent approcher setting out the arguments of a philosophical treatise.3 Paint- suite pour en voir l'artifice." ers who devoted their best efforts to the "mechanics of the de Conversations sur connoissance de la -Roger Piles, la art" were, he declared, nothing more than craftsmen, and 300. peinture, Paris, 1677, people who admired them were ignorant.4 Judging from Chambray's text, there were a good many A of Champion French Classicism and His Discontents ignorant people in France, people who, in his view seduced ca. 1660 by false fashion, actually valued the display of mere craftsman- In Roland Freart de his 1662 Chambray published IdMede la ship. Chambray expresses special -
Landscapes from Permanent Collection June
LCGA Permanent Collection: Landscapes 29th June – 22nd October 2017 Featured artists: Eva Hamilton RHA; Letitia M Hamilton RHA; J. Humbert Craig RHA RUA; Charles Lamb RHA, RUA; Paul Henry RHA RUA; Seán Keating RHA; Maurice MacGonigal PRHA; Frank McKelvey RHA RUA; Walter Verling HRHA; Maurice C. Wilks ARHA RUA; Jack B. Yeats RHA; Old Thomond Bridge Unknown. Charles Lamb RHA, RUA (1893–1964): The Irish landscape artist, portrait and figure painter Charles Vincent Lamb was born in Portadown, Co. Armagh. and worked as a house painter before teaching art and painting professionally. He studied life-drawing in Belfast School of Art before winning a scholarship to the Dublin Metropolitan School of Art in 1917, where he came under the influence of Sean Keating. He began exhibiting at the Royal Hibernian Academy in 1919, and thereafter averaged about 4 paintings per show until his final years. In 1922 he went to Connemara, settling in a remote Irish-speaking part of County Galway, Carraroe. Lamb was one of a group of painters, including Sean Keating, Patrick Tuohy and Paul Henry, who found their inspiration in the West of Ireland, which was seen as the repository of true Irishness. In 1938 he was elected a full member of the Royal Hibernian Academy (RHA). He continued painting actively right up until his death in 1964. Maurice MacGonigal PRHA (1900- 1979): The landscape and portrait artist MacGonigal was born in Dublin, becoming a design apprentice in his uncle's firm, Joshua Clark, ecclesiastical decorator and stained glass artist. MacGonigal mixed politics with art studies, managing within a few years to be interned at Ballykinlar Camp, take drawing and figure drawing classes at the Dublin Metropolitan School of Art (now the National College of Art and Design) and win the Taylor Scholarship in painting. -
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. -
The Green-Eco 2009 Marshes, Swamps and Peat Bogs in the Turbulent Days of This and Forms Peat
rEo ECO-WARRIORS OCTOBER 2009 ENVIRONMENTALLY AWARE Page 60 Page 12 s s n esties... ettin Page 61 se n ersn The secret to understanding the Bogs of to throw on the fire have a little look at it first. Ireland, and Glenveagh, is to get up close How long is it, how many years of formation and personal. Bogs are a fascinating are about to keep you warm? Through this miniature world, with a diverse variety of slow formation and the acidic, bacteria free plants, from the simplest of mosses to our nature of the bog. it tends to be an excellent most aggressive insect eating plants. The preservative. Pieces of Oak, Birch and Pine insect life is also very rich from our smallest have all been retrieved from Glenveagh's flesh-eating midge to the country's largest bogs, all these pieces in a remarkably good and most ferocious insect predator, the state seeing as they're often more than 4,000 Dragonfly. That's not to mention its mammals years old! They show us what was in place and birds. And of course, water, lots of before man and climate change got to grips water. with this land. Ancient canoes, ancient butters (that would have been stored in the The first question to ask as you arrive at the bog) and human bodies in near perfect bog is which type is it? Blanket or raised. condition have been recovered from the bogs Page 11 Apart from a small stretch of partially raised of Ireland. bog at the end of Loch Veagh all the Bog in Glenveagh National Park is Blanket Bog. -
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 I The West of Ireland National Gallery of Ireland / Gailearaí Náisiúnta na hÉireann West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 Marie Bourke With contributions by Donal Maguire And Sarah Edmondson II Contents 5 Foreword, Sean Rainbird, Director, National Gallery of Ireland 23 The West as a Significant Place for Irish Artists Contributions by Donal Maguire (DM), Administrator, Centre for the Study of Irish Art 6 Depicting the West of Ireland in the Nineteenth and Twentieth Centuries, Dr Marie Bourke, Keeper, Head of Education 24 James Arthur O’Connor (1792–1841), The Mill, Ballinrobe, c.1818 25 George Petrie (1790–1866), Pilgrims at Saint Brigid’s Well, Liscannor, Co. Clare, c.1829–30 6 Introduction: The Lure of the West 26 Frederic William Burton (1816–1900), In Joyce Country (Connemara, Co. Galway), c.1840 6 George Petrie (1790–1866), Dún Aonghasa, Inishmore, Aran Islands, c.1827 27 Frederic William Burton (1816–1900), The Aran Fisherman’s Drowned Child, 1841 8 Timeline: Key Dates in Irish History and Culture, 1800–1999 28 Augustus Burke (c.1838–1891), A Connemara Girl 10 Curiosity about Ireland: Guide books, Travel Memoirs 29 Bartholomew Colles Watkins (1833–1891), A View of the Killaries, from Leenane 10 James Arthur O’Connor (1792–1841), A View of Lough Mask 30 Aloysius O’Kelly (1853–1936), Mass in a Connemara Cabin, c.1883 11 Frederic William Burton (1816–1900), Paddy Conneely (d.1850), a Galway Piper 31 Walter Frederick Osborne (1859–1903), A Galway Cottage, c.1893 32 Jack B. -
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. -
Donegal County Development Board Bord Forbartha Chontae Dhún Na Ngall
Dún na nGall - pobail i d’teagmháíl Donegal - community in touch ISSUE 3 MARCH 2009 / EAGRÁN 3 MÁRTA 2009 Welcome Fáilte News 2 We, as Donegal people, have a lot to be proud of. Not alone is it Donegal Business 7 one of the most beautiful places on this earth, not alone are its Education and Learning people welcoming, decent and friendly, but our biggest asset is 10 our rich culture... the language, the stories, the music and songs. Social and Cultural 11 Donegal Community Links 13 Sé bhur mbeatha… Tá mise lonnaithe arais I nDún na nGall anois le breis agus ceithre bliana. Leis an fhírinne a rá, is é an bogadh is fearr a rinne mé ariamh! le theacht chun laetha saoire a chaitheamh ann. Ta a fhios againn uilig nach dtig linn bráth ar an aimsear Bhí cupla cúis agam pilleadh… bhí le daoine a mhealladh chun na condae, mar sin bá chóir girseach bheag agam agus bhí mé ag dúinn díriu ar caide nach dtig leo ach fáil in nDún na nGall... iarraidh í a thógailt i lár na Gaeltachta ár ndúchas, ár gcultúr!!! i measc mó mhuintir féin. Sílim go bhfuil deireadh le ré na monarcáin mhóra agus Is ea an cúis eile nó go raibh sláinte agus na holltáirgíochta thart. m’athair, Francie Mooney ag dul i léig agus bhí mé ag iarraidh níos mó ama Ta daoine ag díriú ar chaighdéan mhaireachtála fiúntach a a chaitheamh leis gur chaill muid é tri thabhairt dona gcuid teaghlaigh. Fiúintas…sin an dóigh le bliana ó shin. -
The Douglas Hyde Gallery Exhibition Programme 1978 - 2016
The Douglas Hyde Gallery Exhibition Programme 1978 - 2016 1978 1982 Marching Workers – Trade Union Banners Irish Country Posters Irish Exhibition of Living Art The Plan of St. Gall Benedictine Monastery The Art of the Pacific James Coleman – Retrospective John Luke Ulysses Project National College of Art & Design Staff & Students Exhibition Patrick Collins – Retrospective GPA Awards Exhibition Colin Harris Seamus Murphy – Retrospective 1979 Otto Dix M.C. Escher 1983 Bauhaus Michael Farrell – Retrospective Nigel Rolfe Images of an Era – The American Poster 1945-75 David Nash Kilim Carpets Exchange Between Artists: Poland – USA Jim Crowley Ceramics Independent Artists (Touring group exhibition) Annual Oireachtas Art Exhibition Kentucky Quilts Harry Clarke – Retrospective The George Dawson Collection GPA Awards Exhibition Kevin Roche Architect EVA, Limerick (Touring group exhibition) 1980 Max Ernst Erwin Piscater – Theatre Designs 1984 Images Des Hommes – 20th Century European Photography Mervyn Peake Tom Carr – Retrospective Morandi Etchings Miro College Gallery – 21st Anniversary Exhibition As of Now (Peter Moore’s Liverpool Project 7. An exhibition Camille Souter – Retrospective selected by William Feaver) James Ensor – Graphics James Coleman Irish Exhibition of Living Art Irish Exhibition of Living Art The Peasant in French 19th Century Art Tony O’Malley Hibernian Inscape: A Selection of 12 Irish Artists (Briain Bourke, 11 Sculptors From Berlin James Coleman, Barrie Cooke, David Crone, Felim Egan, David Hockney – Photographs Adrian Hall, Willie Heron, Clement McAleer, Alanna O’Kelly, Felim Egan Michael O’Sullivan, Neil Shawcross & Gordon Woods) No Country for Old Men (Touring exhibition focused on changes in Irish society from Institute of Contemporary Arts, London) 1985 Per Kirkeby Patrick Ireland – Purgatory: Rope Drawing No. -
In Pursuit of Caravaggio
IN PURSUIT OF CARAVAGGIO 21 November 2016 – 27 January 2017 38 Dover Street, W1S 4NL, London Robilant+Voena are pleased to present In Pursuit of Caravaggio at their London gallery from 21 November 2016 to 27 January 2017. Robilant+Voena is the premier international gallery for the Caravaggesque, paintings by the European artists who flocked to Rome around 1600 and fuelled an artistic revolution instigated by Michelangelo Merisi da Caravaggio (1573-1610). Timed to coincide with the National Gallery of Art’s exhibition Beyond Caravaggio, In Pursuit of Caravaggio is an exhibition which will display an exceptional group of Caravaggesque paintings as a vehicle to explore the profound way that art dealers have informed and influenced the reception of the controversial art of Caravaggio and his followers. The years proceeding Michelangelo Merisi da Caravaggio’s (1573-1610) arrival in Rome in the late summer of 1592 were transformative in the history of western art. Caravaggio landed in the Eternal City and both scandalised and delighted artistic patrons with his brutally naturalist style. His manner was revolutionary and stood counter to the classical idealism of traditional Roman painters. His influence was profound and he quickly garnered a following of both artists and patrons. So when Caravaggio, at the height of his fame, left Rome in 1606, his insistence not to take pupils or to run an organised workshop left no obvious successor to fill the extraordinary demand for commissions. But Rome was filled with artists who were inspired by Caravaggio’s methods. These artists adopted the tenets of Caravaggio’s art (a realistic depiction of figures, dramatic subject matter, and use of chiaroscuro, a high contrast of light to dark) and gave birth to one of the most expressive and beautiful artistic movements of all time. -
Annual Report 2018 for Email
ANNUAL REPORT 2018 CONTENTS CONTENTS.......................................................................1 PREFACE.........................................................................3 CHAIRMAN’S WELCOME ..............................................................4 DIRECTOR’S FOREWORD .............................................................5 INTRODUCTION ...................................................................7 COLLECTION...............................................................9 TEMPORARY EXHIBITION PROGRAMME ...................................11 LEARN AND EXPLORE .........................................................15 FRIENDS OF CRAWFORD ART GALLERY.....................................21 CRAWFORD GALLERY CAFÉ .......................................................25 2018 EXHIBITION REPORT...........................................................27 MARKETING CRAWFORD ART GALLERY....................................33 IMAGE CREDITS ........................................................................38 1 PREFACE About Crawford Art Gallery Crawford Art Gallery is a National Cultural Institution We welcome you to enjoy our free tours and bask in located in a significant heritage building in the heart the tranquility and atmosphere only a building with of Cork City, dedicated to the visual arts, both historic such history and beauty can provide. The architecture and contemporary. The Gallery is a must see for lo- of the building combining the modern new galleries cals and tourists alike, welcoming over -
70 PATRICK SWIFT (1927-1983) Girl in a Garden (C.1951/2) Oil on Canvas, 134.5 X 106.5Cm (53 X 42”) Signed; Title Inscribed on Label Verso
90 70 PATRICK SWIFT (1927-1983) Girl in a Garden (c.1951/2) Oil on canvas, 134.5 x 106.5cm (53 X 42”) Signed; title inscribed on label verso Exhibited: “Patrick Swift: An Irish Painter in Portugal” exhibition, Palácio Foz, Lisbon, Oct/Nov 2001; The Crawford Gallery, Cork, Dec 2001/February 2002 . Literature: “Patrick Swift (1927-1983) An Irish Painter in Portugal”, Crawford Gallery, Cork, 2001, p.31 (full page illustration). ‘Girl in a Garden’ dates to the early 1950s and forms part of an interesting body of early work created in Swift’s studio on Hatch Street, Dublin . The painting depicts the artist’s girlfriend American poet Claire McAllister seated in the garden of the studio. Together they formed part of an influential Dublin cultural set that included Anthony Cronin, Patrick Kavanagh, Nano Reid and Brendan Behan among others. Claire McAllister was then a student at Trinity College and she lived in the same house as Deirdre McDonagh whose flat with its grand piano became a favourite post-pub haunt. They met and soon moved to a large flat in a Georgian house on Hatch Street with Swift subletting the front half to the painter Patrick Pye as a studio. Their relationship came to an end several years later after Swift was introduced to the beautiful Oonagh Ryan by her brother John Ryan (Envoy Magazine, The Bailey Pub etc) in May 1952 and later that year Swift left Claire and followed Oonagh to London. Swift had met Lucian Freud in 1949 and by 1950 Lucian was coming regularly to Ireland due to his courtship with his future wife Lady Caroline Blackwood of Clandeboye Estate in Northern Ireland and he used to come around in the mornings to the Hatch Street Studio to paint.