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George Bernard Shaw Refuses Nobel Prize Money

On November 18, 1926, George Bernard Shaw refuses to accept the Nobel Prize in Literature prize money of £7,000 awarded to him a year earlier. He says, “I can forgive Alfred Nobel for his invention of the explosive but only the devil can think of the Nobel Prize.”

Shaw is born in Dublin on July 26, 1856, the third child of George Carr Shaw, a civil servant who later turns to a failed grain business to become an alcoholic, and Lucinda Elizabeth Shaw, a professional singer and sister of the famous opera singer Lucinda Frances. He is initially poor but is gifted with music and soon understands and loves the work of famous musicians and learns more about painting in Dublin. At the age of 15, he works as an apprentice and cashier for a real estate firm.

In 1876, Shaw follows his mother and two sisters to London. There he writes music reviews for newspapers to earn money, self-studies and actively participates in social activities. In 1884, he joins the founding of Fabian Society, an organization of British intellectuals advocating transition from capitalism to socialism by way of peace. From 1879 to 1883, he writes his first novel, Immaturity, and five other works that are not printed. An Unsocial Socialist is the first novel to be printed in 1887. Considered the father of “conceptual drama,” he begins writing plays in 1885, but achieves initial fame with Widowers’ Houses (1892). By 1903, his drama takes over the American and German stage, and in 1904 dominates the domestic stage. He becomes even more famous when Edward VII, the King of England, attends the performance of John Bull’s Other Island (1904), after which his drama spreads to European countries.

In addition, Shaw is also considered the best playwright in Britain at the time. He wants to use art to awaken people first to require changing the bourgeoisie order with all its institutions and customs. He emphasizes the educational function of the theater, but seeing the function of education is not an imposition from the playwright but arousing the aesthetic needs of the audience. The harsh problems of contemporary society such as the island’s predominant power, exploitative patterns, and the poverty of the people lead to social evils clearly reflected in his drama. His drama style tends to be satirical, sarcastic, finding its way to truth through paradoxes.

Shaw’s youngest dream is to earn a sum of money, then marry a wealthy wife. However, before becoming so wealthy that he can spend $ 35,000 on charity and enough money to travel around the world, he goes through many years of hardship. In the first nine years of his career, he receives only $30 USD in royalties. He is so poor that he does not even have the toll to get his manuscript to publishers. His clothes are tattered, his shoes open. All of his spending comes from his mother’s allowance. When he gets his name and remembers the miserable days, he often frowns, “I should have supported my family, the results are the opposite. I have never done anything for my family, and my mother has to work, raising me even though I was an adult.” Shaw, however, decides not to give up writing.

Realizing that, Shaw looks at the real royalties by publishing novels and the journey to the desired destination seems far away. He then turns to writing plays. He calculates that if the script is made public, the author will have revenue through the number of tickets issued and the number of shows. At the same time, the name of the author is also quickly known to the public. On the other hand, he says, only theater can “awaken people before the change of modern social order with all its institutions and customs.” He also judges that in addition to entertainment functions, the drama also contains the function of education, through arousing the aesthetic needs of the audience. He does not hesitate to bring to the stage all the most pressing issues of contemporary society such as the money’s inertia, the poverty of the people, and the social evils.

Saint Joan (1923) is judged to be the culmination of Shaw’s writing career. It is performed throughout European stages and is very popular. Two years after the release of Saint Joan, he is awarded the Nobel Prize for “the ideological and highly humanistic compositions, especially the spectacular satirical plays, combined with looks. Strange beauty of poetry.” When notified of his winning of the Nobel Prize, he humorously says, “The Nobel Prize for literature is like a float thrown to a swimmer.” Although he thinks he is the “swimmer to the shore,” he never leaves the pen. Thirteen years after receiving the Nobel Prize, Pygmalion, a script he wrote in 1912, is made into a film and receives the Academy Award for Best Adapted Screenplay.

In terms of scenario remuneration, Shaw receives an average of $100,000 a year, enough to spend on life, “reproduce” writing and traveling. It is only possible to marry a wealthy wife until the age of 40 years old. He always thinks that he “has no marriage status because he always worries others.” In terms of form, he is not very attractive because of his skinny body, but watching as the sisters do not allow him to carry out his intention to preserve his “absolute freedom.” Many beautiful female actors actively proclaim marriage proposal to Shaw, but he always uses humorous sentences to refuse.

Describing the George Bernard Shaw, Albert Einstein‘s physical genius after having met him has to say, “There are rare people who are so independent that they can see the weaknesses and absurdities of contemporaries. and at the same time do not let me get into it, but even so, when I encounter the hardships of life, these lonely people often lose their courage in helping humanity, with subtle humor and gentleness, can enthrall contemporaries and deserve to be torchbearers on the way of art’s unfavorable ways, today, with a passionate affection, I salute celebrate the biggest teacher on that path – the one who taught us and made us all feel happy.” It is a rare meeting of two great people in London in the fall of 1930.

(From: “November 18, 1926 – George Bernard Shaw refuses to receive a Nobel prize,” ScienceInfo.net, updated December 17, 2018)


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Death of Olive Henry, Northern Irish Artist

Olive Henry, Northern Irish artist known for her painting, photography and stained glass design, dies on November 8, 1989, in Crawfordsburn, County Down, Northern Ireland. She is a founding member of the Ulster Society of Women Artists and is believed to be the only female stained glass artist working in Northern Ireland in the first half of the twentieth century.

Henry is born in Belfast on January 15, 1902, the daughter of the tea merchant George Adams Henry. She attends Mount Pottinger National School, and Victoria College, before expanding her studies at night classes at the Belfast School of Art.

Henry completes an apprenticeship at Clokey Stained Glass Studios founded by Walter Francis Clokey where she is to work for over fifty years designing stained glass windows. Her appointment in the autumn of 1919 comes by a chance visit to Victoria College by the firm’s owner who is seeking a suitable apprentice. She retires from the firm at Easter 1972.

In addition to her stained glass work, Henry exhibits her paintings widely in the Oireachtas, Belfast Art Society, Royal Ulster Academy, Royal Hibernian Academy, the Irish Exhibition of Living Art, Water Colour Society of Ireland, Belfast Museum and Art Gallery (now the Ulster Museum) and the National Society in London. She is a founding member, with Gladys Maccabe, of the Ulster Society of Women Artists and is president of the society from 1979 to 1981.

Henry exhibits at the Belfast Art Society for the first time in 1928. She exhibits four works, all landscapes in oil, and then a further two works in the following year. In 1931, she shows a further two works with the successor to the Belfast Art Society, the Ulster Academy of Arts. In 1932, she shows A Derbyshire Village, described by one critic as “a delightful English rural scene.” Between 1931 and 1942 she shows with more than twenty paintings at the Ulster Academy of Arts, exhibiting at each annual show in that time.

Henry has a keen interest in photography from an early age and wins various awards for her photographs. In 1934, she wins the August prize from the Photographic Dealers’ Association for a shot of a child playing with toys in the bath, having received a consolation prize of five shillings in September of the previous year for a shot of a traditional market scene in Boulogne. She goes on to write a regular column for Amateur Photographer throughout the 1930s.

In January 1935, Henry is appointed leader of a local sketching group by the Youth Hostel Association. In December 1935, she is commended for a sketch called River Pool, submitted to a competition judged by James Humbert Craig on behalf of the Youth Hostel Association, presented alongside Port Muckin a show with the sketching group. Maurice Canning Wilks contributes Skernaghan Point, Brown’s Bay to the same show.

The Robinson and Cleaver Art Gallery stages a display of works from Four Ulster Artists in 1936 consisting of paintings from Henry, her sister Marjorie, Theo Gracey and F. H. Hummel. She contributes Green Boat, which she had presented earlier in the year to the Ulster Academy of Arts, and includes Off the Scilly Isles among pictures from Brittany and Bavaria. The reviewer in Belfast’s News Letter refers to her style as “Post-Impressionism.”

In 1937, Henry is elected an Associate of the Ulster Academy of Arts and presents three watercolours to the institution the following year. The exhibition is opened by Oliver St. John Gogarty with participants such as John Luke, Maurice Wilks, James Humbert Craig, Rosamund Praeger and Colin Middleton, who shows three Surrealist works including Angelus.

The Royal Hibernian Academy displays two small works, Flight, 1941 and Lakeside, among an unusually large contingent of Ulster artists in the annual exhibition in the spring of 1942. The Ulster Academy of Arts is united in their commitment to raise funds for the bomb damaged Ulster Hospital for Children and Women in their Spring Exhibition of 1942. Henry displays a sense of humour in her use of black-out paint, roadblocks and air raid shelters in one of the watercolours on show.

Henry is a regular exhibitor with the Water Colour Society of Ireland, and contributes more than one hundred works to their exhibitions between 1943 and 1986.

Henry joins Violet McAdoo in a joint exhibition at the Belfast Museum and Art Gallery in 1944. McAdoo presents with watercolours, however, Henry also presents oils. The paintings are primarily of landscapes but included a number urban scenes.

In 1945, Henry and her sister Margaret join Arthur and George Campbell, Colin Middleton, Gladys and Max Maccabe, Thomas Carr, Maurice Wilks, James McIntyre and others, in the only official exhibition from the Ulster branch of the Artists’ International Association sponsored by the Council for the Encouragement of Music and the Arts (NI) at the Belfast Museum.

The MacGaffin Gallery at Pottinger’s Entry is the venue for a group exhibition of experimental and modernist works with Nevill Johnson, Aaron McAfee and the MacCabes in 1946, where Henry exhibits seven paintings. Quayside is one of three pictures that she presents at the Ulster Academy in 1946. She also shows it with the Water Colour Society of Ireland in the following year and at CEMA’s Some Ulster Paintings exhibition in that same year.

In 1946, the Council for the Encouragement of Music and Art (CEMA) purchases a painting by Henry, in addition to works by other contemporary Ulster artists. Twenty-four of the works from the CEMA collection, including her painting, are later presented at their Donegall Place gallery in 1954.

Henry debuts at the 1948 Irish Exhibition of Living Art with one painting and returns in each of the subsequent ten years with a total of 20 paintings. She is also elected as an Honorary Academician of the Ulster Academy of Arts in 1948.

Henry displays one work, Harbour, Northern Ireland, with Violet McAdoo at the 88th exhibition of the Society of Women Artists at the Royal Institute Galleries in London during the summer of 1949. Just a few months later her work is back in London for the United Society of Artists annual exhibition where she shows Gossip and Shell and Sail.

Henry is awarded a travel scholarship from the Soroptomists of Belgium in 1957, which enables her to study stained glass in the country. She is the President of Soroptomist Club of Belfast from 1960 to 1961, where she had been a member since its foundation in 1932.

Upon her return from Belgium, CEMA stages a solo exhibition with thirty-five of Henry’s oils and watercolours at their Belfast gallery. The exhibition is arranged at short notice when another is unexpectedly cancelled. Writer Nesca Robb opens the exhibition where it is claimed a new painting technique, “monopainting,” is revealed, described as paint drawn through a gauze over glass. The exhibition includes a ‘Breton’ series, Kerry Tangle, Ship Pattern, Barrack Shapes, Lough Shapes, and Backs. In addition, she displays In the Park, an oil previously seen at the Royal Ulster Academy in 1955 and at the Irish Exhibition of Living Art in 1956, and a second oil, City Lunch Hour, exhibited at the Royal Ulster Academy in 1956.

The Ulster Society of Women Artists is founded in 1957 by Gladys Maccabe with the support of Henry and a number of others at a time when no arts societies are accepting female artists into their ranks. The main objective is to ensure the development of quality art and women artists in Ulster. The organisation begins with ten invited artists. Henry exhibits with the society throughout her life.

Henry receives a mention in the local press referring to her exhibits in the Royal Ulster Academy show of 1959 with Kenneth Jamison comparing her work with that of Deborah Brown, “Olive Henry is more decadent by instinct, a fine formaliser. Her pictures Man and Ropes and Riviera Port, well defined and carefully abstracted, contrast in form with Deborah Brown’s freer Oil Over Tempra,[sic] 1959.”

A group exhibition in 1964 at the New Gallery in Belfast includes work from Henry alongside Neil Shawcross, Max Maccabe, Kathleen Bell, Richard Croft and Helen Ross. Among other works she shows Easter and Long Garden.

In 1965, Henry joins twelve Ulster artists including Alice Berger-Hammerschlag, Basil Blackshaw, Colin Middleton, Romeo Toogood, and Mercy Hunter in a diverse exhibition of landscape paintings at the Arts Council of Northern Ireland gallery. In the same year, she completes a commission from the Sullivan Association of Former Pupils to design a window for Sullivan Upper School in Holywood, County Down.

In 1981, the Ulster Society of Womens Artists elects Henry as President. A retrospective of her studio works is hosted by the Shambles Gallery in Hillsborough, County Down in 1986, some thirty years since her last solo exhibition. Henry shows at the Royal Ulster Academy Annual Exhibition in 1987 for the last time.

Henry dies on November 8, 1989, at Crawfordsburn, County Down. Her paintings are held in the collections of the Northern Ireland Civil Service, Ulster Museum, Irish Linen Centre & Lisburn Museum, and the Royal Ulster Academy of Arts Diploma Collection.

(Pictured: “The Gardener,” watercolour by Olive Henry)


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Death of Artist Samuel McCloy

Samuel McCloy, Irish artist who trains at Belfast School of Design and later at Somerset House, dies in Balham, South London, on October 4, 1904. He exhibits widely in group shows across the British Isles and is known for his watercolours, genre paintings, still life and landscapes. He is also a commercial designer, illustrator, and an educator who is for a time Master at Waterford School of Art.

Born on March 13, 1831, in Lisburn, County Antrim, McCloy is the youngest of five children, born to Peter McCloy, a painter, and his wife Martha Phelan. He studies at the School of Design in Belfast from 1850 to 1851 while serving an apprenticeship in engraving, with J and T Smyth. He then spende a year at the Central School, Somerset House in London before being appointed Master at the Waterford School of Art around 1853, when he also becomes a visiting instructor to several other institutions. In the spring of 1865 he marries his student, the Waterford artist Ellen Lucy Harris, the fourth daughter of a banker named Richard Harris. The dismembered corpse of McCloy’s mother is recovered from the River Suir in September of the same year. She had been missing since the previous November.

Between 1873 and 1891 McCloy shows nine works at the Royal Society of British Artists. Upon his return to Belfast around 1874, he works freelance designing greetings cards for Marcus Ward & Co., and in creating damask designs for linen manufacturers. He illustrates Lucy Sale-Barker‘s Sunny Childhood, published by Routledge in 1887, and he is for a time employed by The Illustrated London News.

McCloy shows just once at the Royal Academy of Arts with a work entitled The Haunt of Meditation in 1859. He exhibits infrequently at the Royal Hibernian Academy between 1862 and 1882, where he displays sixteen works in that time. He displays eleven works in the 1876 Industrial Exhibition at Belfast’s Ulster Hall. In 1880, he shows at Rodman and Company in London where the writer in the Belfast Telegraph indicates that McCloy is becoming a popular artist and is receiving extensive patronage.

Following his relocation to London in 1881, McCloy contributes works to numerous regional exhibitions, including the spring exhibition of the Derby Sketching Club in 1883, Nottingham Castle Museum’s autumn exhibition of 1888, and at Exeter‘s Eland Art Gallery in 1892. He exhibits with the Royal Scottish Academy in 1882 and with the Royal Institute of Painters in Water Colours in 1887. He is also a member of the Belfast Art Society, an antecedent to the Royal Ulster Academy.

After a year-long illness that prevents him from working, McCloy dies in Balham, South London, on October 4, 1904. He is survived by his wife, Ellen, and nine daughters. The Lisburn Museum in his hometown offers a belated retrospective of his work in 1981 to mark the one-hundred fiftieth anniversary of his birth. The exhibition is the first known solo display of McCloy’s work and consists of 58 works. The catalogue for this show is written by Eileen Black and funded by the Arts Council of Northern Ireland.

McCloy’s work can be seen in many public collections including the Ulster Museum, the Victoria and Albert Museum, Amgueddfa Cymru – Museum Wales, the National Gallery of Ireland, and in the Irish Linen Centre and Lisburn Museum.


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Birth of Florence O’Donoghue, Historian & IRA Member

Florence O’Donoghue, historian and head of intelligence of the Cork No. 1 Brigade of the Irish Republican Army (IRA) during the Irish War of Independence, is born in Rathmore, County Kerry, on July 22, 1894, the son of farmer Patrick O’Donoghue and Margaret Cronin. He moves to Cork in 1910, where he works as an apprentice in the drapery trade.

The 1916 Easter Rising is a watershed in O’Donoghue’s life. In December 1916, he joins the Cork branch of the Irish Volunteers. In early 1917, he is elected unanimously First Lieutenant of the Cyclist Company and as a result devotes all his spare time to Volunteer work. He begins writing weekly for two years for The Irish World newspaper. By May 1917, he is sworn into the Irish Republican Brotherhood (IRB) and in October, Tomás Mac Curtain appoints him head of communications of the Cork Brigade. He replaces Pat Higgins as Brigade Adjutant in February 1917. He is a key organiser in the sensational jailbreak of Captain Donnchadh Mac Niallghuis on Armistice Day 1918 and takes personal responsibility for his protection. Michael Collins is the last officer from Volunteers General Headquarters to visit Cork shortly after Christmas 1919, until the truce in 1921.

O’Donoghue builds up an intelligence network and agents which includes his future wife, Josephine Marchment. She is head female clerk at the 6th Division Headquarters at Victoria Barracks, Cork, and passes on secret British Army correspondence to him. He recruits people to open letters, tap phone lines and intercept telegrams. The Irish Republican Army has 2,000 active members in Cork which are also used for intelligence gathering. By March 1920, after killing a Royal Irish Constabulary (RIC) Inspector, he is on the run and serving full-time in the IRA. In November of that year, the Cork Brigade kills six British Army officers and executes five Cork civilians on suspicion of spying.

After two and a half years of fighting, a truce is agreed upon on July 11, 1921. When the Dáil approves the Anglo-Irish Treaty, in January 1922, the IRA splits into pro- and anti-Treaty camps. Over the coming months and after being elected to the army’s executive as Adjutant General, O’Donoghue warns of the dangers of an Irish Civil War. In June 1922, he resigns from the army’s national executive and a month later, on July 3, 1922, from the army. Civil war does break out on June 28, 1922, between pro- and anti-Treaty factions, much to his dismay.

During the Irish Civil War, O’Donoghue remains neutral and tries to organise a truce to end the fighting. In December 1922, he forms a group called the “Neutral IRA”, along with Seán O’Hegarty, composed of pro-truce IRA men. He claims he has 20,000 members in this group. He campaigns for a month’s truce between the two sides, so that a political compromise could be reached. However, his efforts come to nothing and in March 1923, he winds up the “Neutral IRA,” judging that its objectives cannot be achieved. The Irish Civil War ends on May 24, 1923.

O’Donoghue serves as major in the Irish Army from 1939-1946. He forms a Supplementary Intelligence Service that is to remain behind enemy lines in the event of an invasion. He also teaches guerrilla warfare tactics to new army recruits.

O’Donoghue marries Josephine Brown (née Marchment) in April 1921, and they have four children. The couple also adopts two children from Josephine’s first marriage, including Reggie Brown, whom O’Donoghue kidnaps from his grandparents in Wales in 1920. He becomes a rate collector and remains outside politics.

In later years O’Donoghue becomes a respected historian. While in the army he edits An Cosantóir, the Irish Army’s magazine. He convinces Éamon de Valera to establish the Bureau of Military History to record personal accounts from the Irish War of Independence. He is a recording officer until 1948. His most famous work is his biography on Liam Lynch, entitled No Other Law.

O’Donoghue dies on December 18, 1967, in Mercy University Hospital, Cork, County Cork. Tom Barry gives the graveside oration. His papers are in the National Library of Ireland (NLI) and his statement to the Bureau of Military History is in the Military Archives.


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Death of Florence O’Donoghue, Historian & Member of the Irish Republican Army

Florence O’Donoghue, historian and head of intelligence of the Cork No. 1 Brigade of the Irish Republican Army (IRA) during the Irish War of Independence, dies on December 18, 1967, in Mercy University Hospital, Cork, County Cork.

O’Donoghue is born in Rathmore, County Kerry, on July 22, 1894, the son of farmer Patrick O’Donoghue and Margaret Cronin. He moves to Cork in 1910, where he works as an apprentice in the drapery trade.

The 1916 Easter Rising is a watershed in O’Donoghue’s life. In December 1916, he joins the Cork branch of the Irish Volunteers. In early 1917, he is elected unanimously First Lieutenant of the Cyclist Company and as a result devotes all his spare time to Volunteer work. He begins writing weekly for two years for The Irish World newspaper. By May 1917, he is sworn into the Irish Republican Brotherhood (IRB) and in October, Tomás Mac Curtain appoints him head of communications of the Cork Brigade. He replaces Pat Higgins as Brigade Adjutant in February 1917. He is a key organiser in the sensational jailbreak of Captain Donnchadh Mac Niallghuis on Armistice Day 1918 and takes personal responsibility for his protection. Michael Collins is the last officer from Volunteers General Headquarters to visit Cork shortly after Christmas 1919, until the truce in 1921.

O’Donoghue builds up an intelligence network and agents which includes his future wife, Josephine Marchment. She is head female clerk at the 6th Division Headquarters at Victoria Barracks, Cork, and passes on secret British Army correspondence to him. He recruits people to open letters, tap phone lines and intercept telegrams. The Irish Republican Army has 2,000 active members in Cork which are also used for intelligence gathering. By March 1920, after killing a Royal Irish Constabulary (RIC) Inspector, he is on the run and serving full-time in the IRA. In November of that year, the Cork Brigade kills six British Army officers and executes five Cork civilians on suspicion of spying.

After two and a half years of fighting, a truce is agreed upon on July 11, 1921. When the Dáil approves the Anglo-Irish Treaty, in January 1922, the IRA splits into pro- and anti-Treaty camps. Over the coming months and after being elected onto the army’s executive as Adjutant General, O’Donoghue warns of the dangers of an Irish Civil War. In June 1922, he resigns from the army’s national executive and a month later, on July 3, 1922, from the army. Civil war does break out on June 28, 1922 between pro- and anti-Treaty factions, much to his dismay.

During the Irish Civil War, O’Donoghue remains neutral and tries to organise a truce to end the fighting. In December 1922, he forms a group called the “Neutral IRA”, along with Seán O’Hegarty, composed of pro-truce IRA men. He claims he has 20,000 members in this group. He campaigns for a month’s truce between the two sides, so that a political compromise could be reached. However, his efforts come to nothing and in March 1923, he winds up the “Neutral IRA,” judging that its objectives cannot be achieved. The Irish Civil War ends on May 24, 1923.

O’Donoghue serves as major in the Irish Army from 1939-1946. He forms a Supplementary Intelligence Service that is to remain behind enemy lines in the event of an invasion. He also teaches guerrilla warfare tactics to new army recruits.

O’Donoghue marries Josephine Brown (née Marchment) in April 1921 and they have four children. The couple also adopts two children from Josephine’s first marriage, including Reggie Brown, whom O’Donoghue kidnaps from his grandparents in Wales in 1920. He becomes a rate collector and remains outside politics.

In later years O’Donoghue becomes a respected historian. While in the army he edits An Cosantóir, the Irish Army’s magazine. He convinces Éamon de Valera to establish the Bureau of Military History to record personal accounts from the Irish War of Independence. He is a recording officer until 1948. His most famous work is his biography on Liam Lynch, entitled No Other Law.

O’Donoghue dies on December 18, 1967, and Tom Barry gives the graveside oration. His papers are in the National Library of Ireland (NLI) and his statement to the Bureau of Military History is in the Military Archives.