Royal Hibernian Academy Catalogue of Papers 2011
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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. -
Kerlin Gallery
Kerlin Gallery Elizabeth Magill pink mineral, 2020 oil on canvas 12 x 15.9 in / 12.8 x 16.7 x 2 in framed AVAILABLE $12,500.00 In 2020 Elizabeth Magill spent five months of lockdown on the coast of Ireland, swapping her east London studio for one nestled in the rural landscape which has long featured in her work. The result is a series of paintings, collectively titled 'Her Nature' that explore our physical and psychological relationship to the land. Each painting has its own, very different mood, its own story or mystery such as 'pink mineral,' with its fantastical 'red sky at night,' its title a reference to Rose Quartz, one of many earthly treasures or 'smoulder,' the contained, potential energy of a sleeping volcano. Magill has said of these new works: 'These particular paintings came out of this unusual time. They were my response to nature but are also a kind of lament to the strange times we are living in... perhaps too they are my attempt to suggest a beauty; a beauty created by distance and maybe the passing of time and an acknowledgment to things we can’t fully fathom'. About the Artist: Elizabeth Magill b.1959, Canada. Lives and works in London and County Antrim, Northern Ireland Elizabeth Magill’s recent solo show ‘Headland’ toured to Limerick City Gallery of Art, Limerick, (2017); Ulster Museum, Belfast, (2018); Royal Hibernian Academy, Dublin (2018) and New Art Gallery, Walsall, UK, (2019). Other solo exhibitions include The Hugh Lane, Ireland, (2016); Towner Gallery & Museum, Eastbourne, UK, (2011); Ikon Gallery, Birmingham, travelling to Milton Keynes Gallery, Milton Keynes; BALTIC, Gateshead and Glynn Vivian Gallery, Swansea, (all 2005). -
Moving Ahead with the Stevens Competition
the WORSHIPFUL COMPANY of GLAZIER S & PAINTERS OF GLASS Issue Number 63 Spring 20 21 the 2020 competition or do it differently. Then came lockdown two! No problem, Moving ahead We chose the latter. we have been here before. We reintroduced Firstly, we delayed the entry date by four the Design Only category and sat back. with the Stevens months in the hope that lockdown would be Inevitably, lockdown three arrived, so the eased in time for participants to complete entry date has been delayed to July and Competition their work. This worked. Secondly, we Prizegiving until October. Judging will be introduced a new type of entry, Design Only, virtual again and we have a panel of judges BRIAN GREEN reports: Organising the which allowed competitors to submit their who are looking forward to the challenge. Stevens Competition in 2020 and 2021 has design but removed the need to produce a The delay has been used to widen the been quite a game! So far, the Glaziers are sample panel. This worked; roughly 40% of potential field of entry; translations of the in the lead and we intend to keep it that way. the entries fell into this category. Thirdly, the brief have been circulated in Spanish, French The original game plan for Stevens 2020 decision was taken to judge the competition and German. had to be abandoned when the country online. This worked surprisingly well. We hope Stevens 2022 will be more went into the first lockdown in March 2020 At the end of the day the Prizegiving was straightforward. -
Born in Seoul, Korea, 1946 Lives and Work in Milano, Italy Education MFA
CHUNG EUN-MO Born in Seoul, Korea, 1946 Lives and work in Milano, Italy Education MFA Graduate School of Art and Architecture - Pratt Institute, New York Selected Solo Exhibitions 2020 Bonomo Gallery, Roma 2018 Villa Flor, S-Chanf, CH 2017 1+1+1 Bijoy Jain, George Sowden, Chung Eun Mo, ASSAB ONE, Milano 2016 Fuori Salone with Karimoku Furniture, Milano 2012 Paintings, 46/B, Milano 2011 20 Carpets-Chung Eun Mo/Nathalie Du Pasquier, Post Design, Milano 2010 Opere – Pittura, Murale, Tavoli e Piastre in Ceramica, Fabbrica delle Arti, Napoli 2007 Fenderesky Gallery, Belfast 2006 Space RED, Milano Galleria Miralli, Viterbo 2005 Palazzo di Primavera, Terni Model Arts and Niland Gallery, Sligo 2004 Galway Arts Centre, Galway Kerlin Gallery, Dublin 2003 Gallery IHN, Seoul Galleria Studio G7, Bologna 2002 Gallery IHN, Seoul Art Fair, Seoul Fenderesky Gallery, Belfast 2001 Gallery IHN, Seoul Kerlin Gallery, Dublin 2000 Primo Piano, Roma 1999 Kerlin Gallery, Dublin 1997 Kerlin Gallery, Dublin Galleria Studio G7, Bologna 1996 Primo Piano, Roma Fenderesky Gallery, Belfast 1994 Galleria Studio G7, Bologna Irish Museum of Modern Art, Dublin Wassermann Galerie, Munich Kerlin Gallery, Dublin 1992 Städtische Galerie im Lenbachhaus, Munich 1991 Fenderesky Gallery, Belfast 1990 Primo Piano, Roma Gangurinn / The Corridor, Reykjavik 1982 Pyramid Gallery, Rochester, New York 1981 Soho Center for Visual Arts, New York 1980 Pratt Institute, Brooklyn, New York Selected Group Exhibitions 2020 Monica De Cardenas, Zuoz AIRMAIL 2, Assab One, Milano Drawings, Fenderesky -
John L. Burke Papers
Leabharlann Naisiúnta na hÉireann National Library of Ireland Collection List No. 63 JOHN L. BURKE PAPERS (Mss 34,246-34,249; 36,100-36,125) ACC. Nos. 4829, 5135, 5258, 5305 INTRODUCTION The papers of John Leo Burke (1888-1959) were donated to the National Library of Ireland by his daughter Miss Ann Burke. The major part of this Collection was received in two sections in September 1997 and January 2000 (Accession 5135). Other material was donated as follows: September 1994 (Accession 4829); June 1998 (Accession 5258) and November 1998 (Accession 5305). These various accruals have been consolidated in this List. The Collection also includes a biographical note on John Leo Burke by Robert Tracy (MS 36,125(4)). LETTERS TO JOHN L. BURKE MS 36,100(1) Actors’ Church Union. Irish Branch 1953 Oct.: Circular in support of the Irish Branch. Autograph signature of Lennox Robinson. 1 printed item. MS 36,100(2) Allgood, Sara 1923 Dec. 12: Thanking JLB for sending story; Abbey production of T.C. Murray’s Birthright. 1 sheet + cover. MS 36,100(3) Bodkin, Thomas 1959 June 16: Gift of print for John Costello. Portrait of Joyce. Unhappy about conditions at National Gallery – “God save us all from the machinations of incompetence.” 1 sheet. MS 36,100(4) Colum, Padraic 1949 Sept. 6: Thanking JLB for photograph of Joyce. Good quality of articles in The Shanachie. “Joyce used to frequent Aux Trianons, opposite Gare Montparnasse. The food is good …”. 1 sheet + cover. MS 36,100(5-6) Cosgrave, W. T. 2 items: Undated: Christmas card. -
The Life and Works of Beatrice Elvery, 1881-1920
Nationalism, Motherhood, and Activism: The Life and Works of Beatrice Elvery, 1881-1920 Melissa S. Bowen A Thesis Submitted to the Department of History California State University Bakersfield In Partial Fulfillment of the Requirements for the Degree of Master of Arts in History May 2015 Copyright By Melissa S. Bowen 2015 Acknowledgments I am incredibly grateful for the encouragement and support of Cal State Bakersfield’s History Department faculty, who as a group worked closely with me in preparing me for this fruitful endeavor. I am most grateful to my advisor, Cliona Murphy, whose positive enthusiasm, never- ending generosity, and infinite wisdom on Irish History made this project worthwhile and enjoyable. I would not have been able to put as much primary research into this project as I did without the generous scholarship awarded to me by Cal State Bakersfield’s GRASP office, which allowed me to travel to Ireland and study Beatrice Elvery’s work first hand. I am also grateful to the scholars and professionals who helped me with my research such as Dr. Stephanie Rains, Dr. Nicola Gordon Bowe, and Rector John Tanner. Lastly, my research would not nearly have been as extensive if it were not for my hosts while in Ireland, Brian Murphy, Miriam O’Brien, and Angela Lawlor, who all welcomed me into their homes, filled me with delicious Irish food, and guided me throughout the country during my entire trip. List of Illustrations Sheppard, Oliver. 1908. Roisin Dua. St. Stephen's Green, Dublin. 2 Orpen, R.C. 1908. 1909 Seal. The Royal Institute of the Architects of Ireland, Dublin. -
Marcel Vidal Stuck on Dawn
Kerlin Gallery Marcel Vidal Stuck on dawn Banana VI 2021 oil on linen 160 x 120 x 2.5 cm / 63 x 47.2 x 1 in MV04221 Price: € 8,500 ex vat (if applicable) Banana VII 2021 oil on linen 160 x 120 x 2.5 cm / 63 x 47.2 x 1 in MV04321 Price: € 8,500 ex vat (if applicable) Banana VIII 2021 oil on linen 160 x 120 x 2.5 cm / 63 x 47.2 x 1 in MV04421 Price: € 8,500 ex vat (if applicable) Banana IX 2021 oil on linen 160 x 120 x 2.5 cm / 63 x 47.2 x 1 in MV04521 Price: € 8,500 ex vat (if applicable) Walker I 2021 oil on linen 200 x 150 x 2.5 cm / 78.7 x 59.1 x 1 in MV04621 Price: € 10,500 ex vat (if applicable) Walker II 2021 oil on linen 200 x 150 x 2.5 cm / 78.7 x 59.1 x 1 in MV04721 Price: € 10,500 ex vat (if applicable) Walker III 2021 oil on linen 200 x 150 x 2.5 cm / 78.7 x 59.1 x 1 in MV04821 Price: € 10,500 ex vat (if applicable) Green 2020 oil on linen 140 x 105 cm / 55.1 x 41.3 in MV03820 Price: € 7,500 ex vat (if applicable) Grey, Yellow 2020 oil on linen 140 x 105 cm / 55.1 x 41.3 in MV03720 Price: € 7,500 ex vat (if applicable) Blue, Grey 2020 oil on linen 140 x 105 cm / 55.1 x 41.3 in MV03920 Price: € 7,500 ex vat (if applicable) MARCEL VIDAL Stuck on dawn 17 July - August Celebrated for his diverse practice and immersive sculptural installations, Stuck on dawn 'brings together three series of work in Marcel Vidal's first exhibition dedicated exclusively to painting. -
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. -
June 2018 Welcome Mike Hausberg
JUNE 2018 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of The Tempest. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. -
The Baptistery Window at St Mary's
The Baptistery Window at St Mary’s We are fortunate in St Mary’s in having what is widely regarded to be one of the most beautiful churches in Dublin. It is very much appreciated by the many visitors who come here, particularly during the summer months. In our visitors’ book one finds expressions of appreciation both for the spirit of our community Eucharist and the beauty of our church. This is something that we are proud of and is worth celebrating. Central to the interior of the church is the stained glass. One author has noted that: ’St. Mary’s is fortu- nate to have such a rich variety of stained glass and it provides parishioners and visitors alike with an opportunity to see and appreciate European and Irish stained-glass side by side.’ One of the more hidden pieces of stained glass of St Mary’s church is in the baptistery, near the front door, on the left as one enters the church. This is The Baptism of the Lord by Beatrice Elvery, which is one of four very beautiful, interesting and historically important pieces of Irish stained glass in the church, the others being A.E. Child’s ( 875-1939) St Cecilia, created in 1910, and the two very impres- sive windows by the Earley company, Christ the King, a work that dates to the 1920s and the great Rose Window, created in 1940. Beatrice Elvery (1881-1970), later known a Lady Glenavy, was a painter, stained glass artist and sculp- tor. She was the second daughter of the Dublin businessman, William Elvery, whose family originated from Spain where they were silk merchants. -
Evaluation of the Building Peace Through the Arts: Re-Imaging Communities Programme
Evaluation of the Building Peace through the Arts: Re-Imaging Communities Programme Final Report January 2016 CONTENTS 1. BUILDING PEACE THROUGH THE ARTS ................................................... 5 1.1. Introduction ........................................................................................................... 5 1.2. Operational Context ............................................................................................. 5 1.3. Building Peace through the Arts ......................................................................... 6 1.4. Evaluation Methodology ....................................................................................... 8 1.5. Document Contents .............................................................................................. 8 2. PROGRAMME APPLICATIONS & AWARDS ............................................ 10 2.1 Introduction ......................................................................................................... 10 2.2 Stage One Applications and Awards ................................................................ 10 2.3 Stage Two Applications and Awards ................................................................ 11 2.4 Project Classification .......................................................................................... 12 2.5 Non-Progression of Enquiries and Awards ...................................................... 16 2.6 Discussion ........................................................................................................... -
Public Art in Parks Draft 28 03 14.Indd
Art in Parks A Guide to Sculpture in Dublin City Council Parks 2014 DUBLIN CITY COUNCIL We wish to thank all those who contributed material for this guide Prepared by the Arts Office and Parks and Landscape Services of the Culture, Recreation and Amenity Department Special thanks to: Emma Fallon Hayley Farrell Roisin Byrne William Burke For enquiries in relation to this guide please contact the Arts Office or Parks and Landscape Services Phone: (01) 222 2222 Email: [email protected] [email protected] VERSION 1 2014 1 Contents Map of Parks and Public Art 3 Introduction 5 1. Merrion Square Park 6 2. Pearse Square Park 14 3. St. Patrick’s Park 15 4. Peace Park 17 5. St. Catherine’s Park 18 6. Croppies Memorial Park 19 7. Wolfe Tone Park 20 8. St. Michan’s Park 21 9. Blessington Street Basin 22 10. Blessington Street Park 23 11. The Mater Plot 24 12. Sean Moore Park 25 13. Sandymount Promenade 26 14. Sandymount Green 27 15. Herbert Park 28 16. Ranelagh Gardens 29 17. Fairview Park 30 18. Clontarf Promenade 31 19. St. Anne’s Park 32 20. Father Collin’s Park 33 21. Stardust Memorial Park 34 22. Balcurris Park 35 2 20 Map of Parks and Public Art 20 22 21 22 21 19 19 17 18 10 17 10 18 11 11 9 9 8 6 7 8 6 7 2 2 5 4 5 4 1 3 12 1 3 12 14 14 15 13 16 13 16 15 3 20 Map of Parks and Public Art 20 22 21 22 21 19 19 1 Merrion Square Park 2 Pearse Square Park 17 18 St.