UNTITLED [landscape] 2018 UNTITLED [landscape] © Government of Ireland and Crown Copyright 2018 Venues 2018/19 Published by the Office of Public Works (OPW) and the Department of Finance, Northern Ireland (DoF) Curators: Dr. Louise Kelly and Davey Moor Design: Ciarán Murphy SEPTEMBER – OCTOBER Production: Marie Harpur, IJP Print Services The Bridewell Centre, Magherafelt Print: Printrun This catalogue is also available in Irish (translated by Europus). NOVEMBER – JANUARY [2] Rathfarnham Castle, Dublin [3] FEBRUARY – MARCH Luan Gallery, Athlone Dimensions unframed, height preceding width, unless otherwise noted APRIL – MAY Front Cover: Roe Valley Arts & Cultural Centre, Limavady Landscape with Donkey’s Feet (Henry’s Dawn) by Micky Donnelly DoF Collection Primary Logo Reversed Logo Foreword KEVIN ‘BOXER’ MORAN Welcome to Untitled [landscape], the latest in a series of joint art exhibitions organised Minister of State by the Department of Finance (DoF) and the Office of Public Works (OPW). Both OPW and Flood Relief Departments have been working in partnership organising art exhibitions since the late 1990s. These exhibitions, which have toured to many venues across the island, bring both collections to wider public audiences. This year the exhibition focuses on the theme of landscape, and the thirty artworks chosen reflect the variety of this genre in each collection. Artists were invited to provide information about their selected artwork for the catalogue. [4] The exhibition will tour four venues. It will begin in September 2018 in The Bridewell [5] Centre, Magherafelt. It will then travel to Rathfarnham Castle, Dublin in November 2018. The third venue in February 2019 is the Luan Gallery, Athlone, and the final venue is Roe Valley Arts & Cultural Centre, Limavady, in April to May 2019. SUE GRAY We would like to acknowledge the excellent co-operation we have received from the venues. We also wish to thank all the included artists, for without their work this Permanent Secretary exhibition would not be possible. Department of Finance It is with great pleasure that we bring you this exhibition. Landscape painting in Ireland [1600 – Present] The history of landscape painting in Ireland is inextricably linked to ownership of in portraying Irish society encouraged the production of scenes of everyday life often land, the rise of patronage and the art market, the mobility of artists and the foundation produced in a picturesque style, some by female artists. The Romantic style inspired by of artists’ societies, schools and galleries. poets such as William Wordsworth and apparent in Claudian and Arcadian landscapes can also be detected and watercolour painting began to increase in popularity. Its humble origins began with 16th century vignettes in the Elizabethan plantation maps of Ulster; 17th century topographical views by engravers, map-makers and The second half of the 19th century saw two very distinct groups of landscape artists visitors, and early 18th century naïve views of demesnes. However, by the 1720s this emerge. The first were academic painters who travelled abroad to study mainly rapidly developed into accomplished works by both Irish and foreign artists living in in London, Antwerp and Paris. They painted a diverse array of landscapes and in Ireland. Wealthy landowners began to commission aerial perspectives of their houses varying styles, with techniques from tight to broad brushstrokes, and styles ranging and lands, some accurate, others more capriccio in style. To further adorn their from German Romanticism to French Impressionism. The second group remained [6] homes, they also purchased paintings of popular local beauty spots, historical ruins in Ireland and although they continued to mirror the artistic changes of continental [7] and hunting scenes, all with landscape backgrounds. In addition, they commissioned Europe they began to search for a distinctly Irish style of art, producing landscapes of family portraits in landscape settings. At Irish auctions they bought mostly Dutch and anecdotal, sentimental scenes, mixed with nationalistic undertones. Flemish works and occasionally French, English and Spanish works. Grand tourists The foundation of the New Irish State in 1922 fermented the idea of a new Irish returned with similar collections from their European travels. Not surprisingly, Irish identity that could be expressed in landscape painting. Artists looked to the Irish landscape painters who studied these art collections were enormously influenced, countryside especially the west of Ireland to provide inspiration for their works. particularly by the Dutch and Flemish landscape style. Other artists were consequently Idealised views competed with realism and almost all depicted with iconic simplicity. prompted to venture abroad, many to London and Rome, where they were further influenced by the English, Italian and French style, returning to Ireland to paint in By the 1940’s this Irish home-grown style of landscape painting gave way once again these styles. to works reflecting the artistic concerns of the continent. Responding to the Modern movement, Irish artists depicted landscapes in a myriad of styles from cubism to The 18th century was also a period of considerable change in the arts in Ireland with expressionism and from surrealism to abstractionism. the opening of schools and societies. In 1731 the Dublin Society was founded around the ideas of the European Enlightenment and its first drawing and painting school The closing decades of the 20th century saw the re-defining of landscape painting opened in 1746, with numerous others following. Also in 1757 the Irish philosopher, once more. Artists north and south placed less emphasis on capturing the natural Edmund Burke, published his famous treatise on aesthetics A Philosophical Enquiry beauty of the Irish landscape and used it more as a means to a political end. into the Sublime and the Beautiful which had an enormous impact on European Today landscape painters working in Ireland continue to assert a sense of distinct landscape painting. identity in their works regardless of style or medium. Indeed it is the rich history of However, during the 19th century the patronage of landscape painting in Ireland our island and its outstanding beauty that allows them to do this. significantly stalled due to the impact of both international and national events such as the Act of Union in 1801, the Battle of Waterloo in 1815 and the devastating mid- Dr. Louise Kelly, nineteenth century famine years. Many artists were forced to travel abroad, particularly Curator to London, while others ventured further afield, to Canada and Australia. In Ireland small-scale landscapes that included figures started to make an appearance as well as history and antiquarian scenes using landscapes as a backdrop. An increased interest Untitled [landscape] What’s in a name? In the hope of being nonprescriptive and in recognition of the fanciful plans. Nature is simple, but our expectations of it are not. We shape it to reflect multifarious nature of the genre, we have called this exhibition Untitled [landscape]. both our fancy and our idea of the axis between beauty and order, which brings us ‘Untitled’ has been No.1 on the fine art appellation hit parade since the early to the important distinction between land and landscape: the former being objective, 20th century—not bad for a sort of anti-title. Before this—although dealers, keepers the latter subjective. The once codified arena of emblem and allegory in art has lost and collectors often gave artworks descriptive names to demarcate them—it was much of its certainty, with symbolism in the contemporary landscape becoming uncommon for artists to specifically title artworks, as it was expected that artistic more intimate to the individual artist, yet disparate in its subjects. The artworks subjects would be recognised by their learned, high-society viewers. With the gathered here feature thirty idiosyncratic views of nature; each scape contoured opening of collections to the public and as smaller, portable works became more somewhat to the code of a personal iconography. We see vistas charged with politics, common, audiences grew and the need to title works with it. These days, Untitled humour, memory, gender, and often by an introverted look at the workings of picture [8] might seem like a fudge, but it is a more generous act than it at first seems, inviting construction, whether analogue or digital. With modern scientific understanding, [9] open interpretations. The word actively recognises the potential to caption, but artists play with the mechanics of light and deconstruct the process of the printed politely declines to elaborate, leaving the artwork to speak for itself. image. They utilise texts, from whispered to emblazoned, in challenging ways. And In the 18th century, art hiked on from its erstwhile beauty spots, to find other views through it all, visually articulate the internal topography of their imaginations. that might more suit the concerns of the modern psyche. It recognised the unsettling chaos of the wilderness, a visual anarchy that scraped its fingers across the blackboard Davey Moor, upon which centuries of pictorial rules are written in our collective memories. This idea Curator of the ‘sublime’ in nature has been talked about since the late 17th century—including, as Dr Kelly notes in her text, by the Irish philosopher Edmund Burke—and is still here relevant today. Antithetical to the pure joy of aesthetic beauty, and distant from the rustic ideals of the picturesque landscape—both largely outmoded in contemporary artistic practice—the sublime presents scenes which induce a frightening awe, caused by the power and unpredictability of nature and our tenuous place in the world. While such fear is a terrifying and negative experience in real life, at the remove of artistic representations, this awe can be compelling. To appreciate the influence of the sublime, one only has to look at the visual language of car advertisements to know that the contemporary western mind comes with doom preloaded on a timeline of continual imminence.