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The second part of my visit to the National Gallery took me into the world of Irish Fine Art, which I must confess I knew nothig about. To my surprise, even if it may shock a few people I didn't know Yeats painted until I came upon some of his paintings being exhibited.
That part of the National Gallery collection had quite a few restrictions as far as photographing is concerned but I still managed to take a few pictures of some of the paintings, which for one reason or another caught my attention.
The Conjuror (1775) by Nathaniel Hone (1718-1784). The Conjuror's is said to be a rather audacious attack on Sir Joshua Reynolds, who Hone believed to have plagiarised using old master paintings in his own work, which he felt didn't deserve the apraisal it had won. Though the figure of the conjuro is not Reynolds himself it is one of his favourite models. There also seems to be allusion to rumours regarding Reynolds relationship with the artist Angelika Kaufmann.
A view of the Rye Water near Leixlip (1850's) by William Davis (1812-1873). Best known for his views around Liverpool, in Wales and in Scotland Davis must have painted this composition on one of his return visits to Ireland.
A sick call (1863) by Mathew James Lawless (1837-1864). The subject of this sombre painting - a clergyman being rowed across a river to administer the last rites must have had a particular resonance for Lawless, who suffered ill-health for quite some time. A lamp on the boat flickering dimly with another emitting no light at all and a sickle and scattering of cut-flowers suggest that the travelling party's anxious prayers must have been in vain.
The blind piper, Patrick O'Brien (c. 1844) by Joseph Patrick Haverty (1794-1864). This picture is both a portrait of a locally recognisable figure and a representation of a familiar Irish type. Patrick O'Brien, who performed on the street in Limerick for many years is seen here playing the union pipes, a uniquely Irish instrument.
The 16th, 17th (St. patrick's Day) and18th of March (1856) by Erskine Nicol (1825-1904). Though St. Patrick's Day remained for most of the Irish population in the mid-19th century principally an event in the Lithurgical calendar, Nicol has depicted it as an opportunity for commercial enterprise and revelry.
Market day, Finistère (1882) by Harry Jones Thaddeus (1860-1929). Painted in Concarneau, this is Thaddeus most ambitious Breton subject. In the painting the artist demonstrates technical ability executiong detail with care and cleverly manipulating space. The young woman's headdress is specific to the Plougastel region.
The fisherman's mother (c. 1893) by Helen Mabel Trevor (1831-1900). This painting reflects the interest in the customs of the Breton people and the elderly subjects often seen as guardians of tradition.
Return from market (1884) and Portrait of Lady Lavery as Kathleen ni Houlihan (1927) by Sir John Lavery (1856-1941). Having travelled to Grez-sur-Loing in search of new experiences Lavery benefited hugely from the communal atmosphere that prevailed there, to be seen on the first painting. In 1927 Lavery agreed to assist the Currency Commission in the design of the first free State banknotes. He re-worked a portrait of his wife Hazel as Kathleen ni Houlihan, heroine of W. B. Yeats 's play of 1902.
The Dublin streets; a vendor of books (1889) by Walter Frederick Osborne (1859-1903). This composition is a depiction of every day life. It features the view from Aston Quay. Despite being essentially a positive vision the barefoot flower girl hints at the hardships endured by Dublin's poor.
A family (1951) by Louis le Brocquy (1916-2012). Counted among Brocquy's so-called "Gray paintings" a Family was painted in the social upheaval and refugee crisis that followed World War II.
Within this particular gallery the public was still granted the possibility of seeing some well known European painters, namely Murillo, the Frans Hals circle and Nicolas Poussin.
The prodigal son driven out (1660's) by Bartolomé Esteban Murillo. This is a scene from the popular story of the prodigal son who squandered his inheritance feasting with harlots. In this composition he is shown being driven out by them, while the procuress watches from the shadows.
The lute player by the circle of Frans Hals. Hals took up the subject of large scale figures playing musical instruments so popularised in Holland in the 16th century but because he shared a studio with other members of his family it hasn't been possible to separate their identities.
The Holy family with Saints Anne, Elizabeth and John the Baptist (1649) by Nicolas Poussin (1594-1665).
Definitely an afternoon to remember.
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