In 1910, Elvery moves to South Africa to marry Hobart Kay, FRCS. By 1916 they have settled in Port Elizabeth.
Kay is a founder member of the Eastern Province Society of Arts and Crafts. In 1924 she is elected a member of the Royal British Colonial Society of Artists. She paints and makes etchings, and in 1926 her etching Romance is bought by Mary of Teck, Queen of the United Kingdom, at the Dominion Artists’ Exhibition in London. She travels widely in South Africa and sketches as she goes, and is also commissioned to make many portraits of mayors of Port Elizabeth, many of them lost when the City Hall burns down in 1977. During World War II she is commissioned by the government to record the war on the home front, and some of her work is held in the South African National Museum of Military History. From 1927 to 1945 she produces two to four illustrations each week for The Outspan.
Kay’s largest painting is the 1937 work Surgery, showing a patient undergoing abdominal surgery (a cholecystectomy). She portrays herself as the scrub nurse and her husband Hobart as the surgeon. In preparation for this painting she visits three hospitals and observes at least two operations, making 27 pages of preliminary sketches of people and equipment used in surgery. During World War II she paints further medical paintings: Operation in a Base Hospital and Blood to Save Lives.
Kay holds one-woman exhibitions from 1922 to 1955, and retrospective exhibitions of her work are held at the Iziko South African National Gallery in 1965 and 1982.
In her early days at Port Elizabeth, Kay is a keen sailor and is described as “for a time the fastest spinnaker-hand in South Africa.”
Kay has three daughters and one son. Her daughter Joan Wright (1911-91) teaches painting at the Port Elizabeth Technical College School of Art and Design, and her daughter Marjorie Reynolds writes and publishes a biography of her mother in 1989, and a further book about the Elvery family in 1991, and also donates her mother’s collection of works and archives to the Iziko South African National Gallery as “The Kay Bequest” in 1992.
Dillon leaves school at the age of fourteen and for seven years works as a painter and decorator, mostly in London. From an early age he is interested in art, cinema, and theatre. About 1936 he starts out as an artist.
Dillon’s Connemara landscapes provide the viewer with context, portraits of the characters who work the land, atmosphere and idiosyncratic colour interpretations. At the age of 18, he goes to London, initially working as a decorator. With the outbreak of World War II, he returns to Belfast. Over the next five years he develops as a painter in Dublin and Belfast. His works during this period are more than simple depictions of the life and people around him, they are reactions and interactions in paint.
In 1942, Dillon’s first solo exhibition is opened by his friend and fellow artist, Mainie Jellett, at The Country Shop, St. Stephen’s Green, Dublin. “Father, Forgive Them Their Sins” depicts his concerns about the new war that has broken out. Despite a growing reputation, he returns to London in 1944 to work on demolition gangs to restore his finances. In the late 1940s and during the 1950s, he finds himself favouring the town of Roundstone, County Galway. In 1951 he is introduced to Noreen Rice by her piano teacher. She has no formal training and takes Dillon and George Campbell as her mentors for decades and her work is of a similar surrealistic and primitive style.
In 1958, Dillon has the double honour of representing Ireland at the Guggenheim International, and Great Britain at the Pittsburg International Exhibition. He and his sister, Mollie, have a property on Abbey Road in 1958. They let out part of the house to Arthur Armstrong and they let a flat to Noreen Rice and her brother. He and Noreen tour junk yards to find objects like leather and string that they include in their artwork.
Dillon travels widely in Europe and teaches for brief periods in the London art schools.
In 1967, Dillon suffers a stroke and spends six weeks in hospital. From this time his work changes direction. A notion of imminent death sends his work almost into another world, a realm of dreams and paintings intimating his death. In 1968 he is back in Dublin, where he helps to design sets and costumes for Seán O’Casey‘s play Juno and the Paycock. He continues to paint and also to make tapestries, sitting at his Singersewing machine.
In 1969, Dillon pulls his artworks from the Belfast leg of the Irish Exhibition of Living Art in purported protest during the Troubles against the “arrogance of the Unionist mob.” However, he does send work to Ulster when he donates work to Sheelagh Flanagan who had organised an exhibition for the relief of victims of the Belfast riots, in October 1969. His picture is hanged alongside the donated works of T. P. Flanagan, William Scott, F. E. McWilliam, Deborah Brown and Carolyn Mulholland as well as more than twenty others. Michael Longley retorts in a further letter, “Belfast needed creativity, it needed people like Gerard Dillon.” During his last years, he is invited to be involved in a children’s art workshop in the National Gallery of Ireland.
Dillon dies of a second stroke at the age of 55 on June 14, 1971. His grave, as requested, is unmarked in Belfast’s Milltown Cemetery. Danlann Gerard Dillon/The Gerard Dillon Gallery in Cultúrlann McAdam Ó Fiaich is named in his honour.
In his biography of the artist, James White briefly touches on the artists homosexuality: “such was his religious feeling that although he was drawn to people of that type, if he once had an encounter I believe that it never occurred again.” The artist’s nephew, Martin Dillon, recalls that after his uncle’s death he found a diary entry describing a homosexual encounter with a sense of guilt, but the author Gerard Keenan insists he was “a very well-adjusted homosexual.” Reihill expands on this, pointing to a probably unrequited love for the painter Daniel O’Neill and also highlights Dillon’s association with Basil Rákóczi and The White Stag Group‘s Kenneth Hall both strong gay connections. Pictures with both overt and covert references are known.
Luke is born at 4 Lewis Street in Belfast on January 19, 1906, the fifth of seven sons and one daughter of James Luke and his wife Sarah, originally from Ahoghill, County Antrim. He attends the Hillman Street National School and in 1920 goes to work at the York Street Flax Spinning Company. He goes on soon after to become a riveter at the Workman, Clark shipyard. While working there he enrolls in evening classes at the Belfast School of Art.
Luke excells at the college under the tutelage of Seamus Stoupe and Newton Penpraze. His contemporaries include Romeo Toogood, Harry Cooke Knox, George MacCann and Colin Middleton. In 1927 he wins the coveted Dunville Scholarship which enables him to attend the Slade School of Fine Art in London, where he studies painting and sculpture under the celebrated Henry Tonks, who greatly influences his development as a draughtsman.
Luke remains at the Slade School of Fine Art until 1930, in which year he wins the Robert Ross Scholarship. On leaving the Slade School he stays in London, intent on establishing himself in the art world. For a time he shares a flat with fellow Ulsterman F. E. McWilliam, and enrolls as a part-time student of Walter Bayes at the Westminster School of Art to study wood engraving. He begins to exhibit his work and in October 1930 shows two paintings, Entombment and Carnival, in an exhibition of contemporary art held at Leger Galleries. The latter composition, depicting a group of masked merry-makers, is singled out by the influential critic, Paul George Konody of the Daily Mail (October 3, 1930), as “one of the most attractive features of the exhibition.” But the economic climate is deteriorating and a year later, at the end of 1933, he is driven back to Belfast by the recession. He remains in Belfast, apart from a time during World War II when he goes to Killylea, County Armagh.
Luke paints in the style known as Regionalism, whose main proponents are Thomas Hart Benton, Grant Wood, John Steuart Curry and Harry Epworth Allen. His painting technique is painstakingly slow, his manner precise. “I’m afraid I’m very much a one job man,” he once writes to John Hewitt, continuing, “my strength lies in making the most of one job at a time, in sustained thought and effort, to bring it to the highest level of organisation and completeness I desire: the other way I lead to disintegrate in looseness and frustration with its inevitable weakness.” The precision characteristic of his work is manifested, too, in his appearance and personal manner. Dark haired, in stature he is erect and spare of build. Always tidy, his clothes brushed, his hair short, he is, in Hewitt’s words, “not at all close to the romantic stereotype of the artist.”
Apart from Luke’s work as a practising artist, he teaches from time to time in the Belfast School of Art, where he influences a generation of students “especially in the matter of drawing,” as he once puts it. Although principally a painter, throughout his career he occasionally makes sculptures, such as the Stone Head, Seraph of c. 1940 (Ulster Museum). Indeed it is for sculpture that he wins the Robert Ross Prize at the Slade School of Fine Art. He is also much interested in philosophical theories of art. In the 1930s, for example, as John Hewitt records, topical books such as Roger Fry’s Vision and Design, Clive Bell’s Art and R. H. Wilenski‘s Modern Movement in Art direct his thinking.
From the late 1930s until 1943, when Luke produces Pax, there is a gap in his output, occasioned, no doubt, by his move to County Armagh in order to escape Belfast after the Blitz. In 1946, he holds his first one-man exhibition at the Belfast Museum and Art Gallery, and this is followed two years later by a similar show, held under the aegis of CEMA, nearby at number 55A Donegal Place. In 1950, to celebrate the Festival of Britain the following year, he is commissioned to paint in Belfast City Hall, a mural representing the history of the city, a work which brings his name to the attention of a wider audience. In later years, other commissions follow for murals in the Masonic Hall, Rosemary Street, in 1956, and the College of Technology at Millfield in the 1960s. He also carves in relief coats of arms for the two Governors of Northern Ireland, John Loder, 2nd Baron Wakehurst (1959) and John Erskine, 1st Baron Erskine of Rerrick (1965). He is also a member of the Royal Ulster Academy.
Having been in declining health for some years, Luke dies, unmarried, at the Mater Infirmorum Hospital in Belfast on February 4, 1975, just a month into his sixty-ninth year. A retrospective exhibition of his work is held, in association with the Arts Councils of Ireland, in the Ulster Museum in 1978, and is accompanied by a short monograph on his life and career written by John Hewitt. Since that time his reputation has grown enormously, his loss rekindling memories in many of his former students of a fastidiously arranged life-room in the College of Art, his coat folded to perfection and his soft, gentle manner of instruction.
Henderson is born to James Douglas Alexander Henderson, who manages the family business of Henderson & Eadie, and Doris Josephine (née Watson). He attends Portora Royal School in Enniskillen, where the art master, Angus Bryson, spots him as an exceptional student.
From 1972 to 1973 Henderson studies an Arts Foundation course at Ulster University. From 1973 to 1976 he studies Fine Art at Kingston University, London, achieving a Bachelor of Artsfirst class honours degree under the tutelage of Terry Jones, returning in 1977 as Artist-in-Residence. In the same year he becomes the first recipient of the Stanley Picker Fellowship Award in Painting. Between 1978 and 1979 he completes a MA postgraduate in Fine Art at Chelsea School of Art under the tutelage of the artist John Hoyland.
In 1980, Henderson starts his professional artistic journey, developing abstract techniques, creating large canvases with complex layers of overlaid and inter-worked paint. He lives and paints in London for twenty years before relocating back to Ireland. In the mid-1980s he works in a studio adjacent to the house he shares with his partner, Jenni Stone, with whom he has a daughter named Emerald.
During the mid-1980s Henderson’s work becomes recognised by private and public collectors, including Bono, leader of the Irish rock band U2. During this period he sells his first work to the National Art Collection (1986). Cuilcagh Under A Renaissance Sky is purchased for Fermanagh County Museum with a grant from the Arts Council of Northern Ireland during his first solo exhibition “Around a Border” in Ireland. This is followed by three more acquisitions via the Arts Council during the 1980s, who continue to support his work into the new millennium acquiring If Hobbema had Seen Ireland (1989) in 2004 via Art Fund with support from the Esmée Fairbairn Foundation. His work is exhibited by Arts Council England.
In 1990 Henderson moves to the Cooperage Studio, Brick Lane, London, sharing the top floor with sculptor David Fusco and artist Bryan Benge, a friend from Kingston University. Benge says “Every summer the studios in the East End became part of the open studios programme. . . . . He was an intelligent and incredibly accomplished Painter.” It is here, separated from his partner and virtually penniless, he devotes himself entirely to his work, living in a tent, donated by Benge’s parents, inside the studio.
Henderson begins Palinurus in Soho in 1991, a series of twelve paintings depicting night time rooftop scenes across London, painted from an attic in Kingly Street. Exhibited at the Anna Bornholt Gallery in 1992, ten of the series are acquired by a single private collector.
Around 2000, Henderson becomes more influenced by Greek and Irish symbolism, in particular White Island, the Book of Kells and Sheela na gig, reflected in much of the art produced from this time onward. In 2001, he creates a set of enamel manuscripts for The Clinton Centre in Enniskillen, inaugurated by U.S. PresidentBill Clinton in 2002, in commemoration of the Remembrance Day bombing of 1987. He is interested in enameling because of the possibilities that it offers to him as a colourist and in the behaviour of gestural mark-making. The process is made possible when he is introduced to Andrew Morley, the authority on enamel sign making.
Henderson’s artistic influences include Hans Hofmann, Barnett Newman, Mark Rothko, and John Hoyland. Frequently associated with Samuel Beckett and Jack Butler Yeats, he is influenced by his homeland; his early environment, growing up around weaving, yarns and dyeing, the regions political turmoil, symbolism, and in later life his chronic illness, expressed in his more sombre paintings.
John Hutchinson, critic and director of the Douglas Hyde Gallery writes in the Sunday Independent that Henderson’s paintings “demonstrate the fruitfulness of the no man’s land between abstraction and representation,” and “His images deliberately evoke the picturesque and romantic landscape conventions that originated in the late 18th century…..as well as the expressionist subjectivity of painters such as Jack B. Yeats.” Due to Henderson’s disinterest in the commercialisation of his work, he is sometimes referred to as Ireland’s Invisible Genius.
Henderson describes the evolution of his work, after returning to Ireland in 1993, saying, “Since returning to Ireland my work has become less concerned with resting landscape painting in a cultural context more appropriate to our times, but has come full circle towards an internalised organic abstraction which characterised my more intuitive approach until the early eighties.”
Henderson is married once, in 1995 to the actress Patricia Martinelli with whom he subsequently has a daughter in 1997, Bella-Lucia. He remains married, living in the remote village of Boho, County Fermanagh, Northern Ireland, until his death, brought on by a brain tumour, on April 28, 2009. He remains a prolific artist throughout his life.
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.
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.
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.
Dryhurst is born to Alexander Robinson and Emily Egan. Her father is a dyer. She is known as Nannie to her sisters and she decides to change her name to Nannie Florence in honour of a young friend who had died. As a result she is known variously (and following her marriage) as N.F. Dryhurst, Nannie, Nora and Florence Dryhurst.
After the death of her father, Dryhurst takes a position as a governess as she speaks fluent French, German and Irish, as well as having considerable skill as an artist. She works first in Ireland and then in London. She looks after a doctor’s daughter, Nellie Tenison, and through them she meets the Dryhurst family. In 1882, she becomes engaged to British Museum official Alfred Robert Dryhurst and marries him in August 1884. Their first daughter, Norah, is born in 1885 and the second, Sylvia, in 1888.
Dryhurst soon gets involved with an anarchist group and writes regularly for the Freedom newspaper. She is friends with Charlotte Wilson and acts as editor when Wilson is away. In the early 1890s she takes over as editor completely for a period of time. She also works as a translator for Peter Kropotkin‘s works. She spends time teaching with Wilson, Agnes Henry, and Cyril Bell at the International Anarchist School set up in Fitzroy Square in London by Louise Michel. She gives active support to Spanish refugees fleeing repression and gives money to support the colony at Clousden Hill from 1895 to 1902.
Dryhurst supports a number of different countries attempting to gain independence. She becomes secretary of the Nationalities and Subject Races Committee and uses her writing in working toward Irish independence. She writes for various Irish newspapers and assists with the creation of The Irish Citizen. A friend of W. B. Yeats, she appears in his play The Land of Heart’s Desire in June 1904. She speaks Georgian, having learned it from Varlam Cherkezishvili, a close associate of Kropotkin. In 1906, she is a member of the Georgian Relief Committee and travels to the country. She speaks at an international conference at The Hague in support of Georgia. She is also a supporter of Indian independence.
It was through Dryhurst that the Gifford sisters get their connection to the Irish independence movement. She introduces Muriel Gifford to Thomas McDonagh and Grace Gifford to James Plunkett. After the executions of fifteen leaders of the Easter Rising in Dublin, she spends her time campaigning unsuccessfully for the reprieve of Roger Casement. Not all her activities are purely political. She is a neighbour of Martin Shaw and on her suggestion he founds the Purcell Operatic Society in 1899. She becomes the Society’s secretary. He rents accommodation near her and through her friends they find talented amateurs to put on their productions.
Dryhurst has a long affair with Henry Nevinson, a journalist she meets in 1892. The affair ends in 1912. She dies in 1930. Her papers are kept in the National Library of Ireland.
The youngest daughter of Captain Henry Butler, a grandson of the Edmund Butler, 11th Viscount Mountgarret, and Clara Butler (née Taylor) of the Newarke, Leicester, England. Her father is himself an enthusiastic painter, known for his publication South African sketches: illustrative of the wildlife of a hunter on the frontier of Cape Colony (1841). Her early artistic efforts are mainly copies of romantic subjects, but the influence of the London artist Paul Jacob Naftel, with whom she begins corresponding in the early 1880s, proves to be crucial to her artistic development. Studies with William Frank Calderon, an expert in animal painting, are also significant. She subsequently spends the summers of 1894 and 1895 in Newlyn, Cornwall, England, with the Irish artist Norman Garstin, who introduces her to contemporary French painting.
In 1885, Butler makes her first visit to the continent, traveling through France, Switzerland, and Italy. From 1905 to 1914 she travels regularly to Europe, most particularly Aix-les-Bains and Wiesbaden, during which time she produces genre views of French and German villages. After 1914 her life at the family home is interrupted only by visits to London exhibitions. She is best known for her paintings of Kilmurry and its environs, many of which display an interest in botany. Much of her work is dominated by detailed representations of animals and birds, often drawn from photographs and stuffed specimens.
Butler’s career as an exhibitor begins in 1882 with the Irish Fine Arts Society, later known as the Water Colour Society of Ireland (WCSI), with which she has a long association. She exhibits regularly with the society from 1892 onward and is a member of its committee for many years. She is also closely associated with the Dudley Museum and Art Gallery in London. Her work is first shown there in 1888, and on this evidence, she is elected to their society. The purchase by the Chantrey bequest for the Tate Gallery of The Morning Bath for £50 in 1896 is a high point in her career. The first painting by a woman to be selected by the council, its purchase is followed by almost consistently good press reviews for her work. The Athenaeum of May 5, 1897, writes: “The young lady knows how to look at her subjects with the eyes of a well-trained artist.”
Butler also comes to the attention of the American artistic press. She contributes to the portfolio of drawings given by the Society of Lady Artists to Princess May on her marriage to the Duke of York in 1893, while in 1922 her work is included in the portfolio presented to Princess Mary on her marriage. Her patrons include Queen Alexandra, and the grand duke of Hesse, who purchases two of her paintings after she is invited to exhibit in Hesse Darmstadt in 1911. In 1914 she is made a member of the Union Internationale des Beaux Arts, and in 1921 her paintings are shown in Japan. She regularly exhibits with the Belfast Ramblers, the Royal Ulster Academy, the Royal Academy of Arts (RA), the Royal Hibernian Academy (RHA), the Society of Lady Artists, and the Royal Watercolour Society, of which she is made an associate member in 1896, and a full member in 1937.
In her later years, severe rheumatism prevents Butler from painting. She has a keen interest in music. She survives all five of her siblings, and inherits Kilmurry, where she dies on October 11, 1941. She is buried at Thomastown, County Kilkenny. Her paintings are represented in the collections of the National Gallery of Ireland, Dublin City Gallery the Hugh Lane, the Ulster Museum, and the Tate, London.
(From: “Butler, Mildred Anne” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Lady Harriet Kavanagh, Irish artist, traveler, and antiquarian, described as a “woman of high culture and of unusual artistic power,” is born Lady Harriet Margaret Le Poer Trench on October 13, 1799. She is believed to be the first Irish female traveler to Egypt.
Kavanagh is the second daughter of Richard Le Poer Trench and Henrietta Margaret Le Poer Trench (née Staples), with three brothers and three sisters. She marries Thomas Kavanagh of Borris House, County Carlow, on February 28, 1825, as his second wife. The couple has four children, three sons Charles, Thomas, Arthur, and one daughter, Harriet or “Hoddy.”
Kavanagh’s third son, Arthur MacMorrough Kavanagh, is born without fully formed limbs. Some attribute the disability to a peasant’s curse, while others speculate it is due to Lady Kavanagh taking laudanum during her pregnancy. She refuses to treat her son differently to his siblings, and with the help of local doctor Francis Boxwell, raises him as a normal child. During his initial education, she teaches Arthur herself, teaching him to paint and then write by holding brushes and pens in his mouth. With the help of the surgeon Sir Philip Crampton, she has a mechanical wheelchair constructed for Arthur, and also encourages him to ride horses and engage in other outdoor activities. Her husband dies after twelve years of marriage, in 1837.
In 1846, Kavanagh takes her children to learn French in Saint-Germain-en-Laye, later traveling to Rome. As an antiquarian, she also wants to visit Egypt and the Holy Land, setting off on the long journey from Marseille in October 1846. Accompanying her are her daughter, Harriet, her two sons, Thomas and Arthur, their tutor, the Rev. David Wood, and a maid, Miss Hudson. In Cairo, she hires two feluccas with Arab crews, and visits archaeological sites along the Nile, such as Thebes, Karnak, and the Nubia region. From there, she visits sites of biblical interest, including Tyre, Sidon, and Roda Island. She negotiates with Bedouin chiefs in Aqaba, hiring camels and Bedouin guides to travel to Hebron. She visits harems and a slave market and records the journey’s incidents in her diary, including her son Arthur’s accidental near drowning when he falls off their boat while fishing.
While visiting Jerusalem in Easter 1847, Kavanagh bears witness to a confrontation over the control of holy places between Roman and Orthodox Catholics priests. She goes on to visit Petra, the Sinai Peninsula, Beirut, Smyrna, and Constantinople. The group spends a second winter in Egypt before traveling to the Black Sea before returning to Marseilles in April 1848. Much of these journeys are conducted on horse or camel-back, with one desert crossing taking 36 days. She later comments on her travels as a woman, stating “quite enough danger to make it a very exciting business.”
In 1850 and 1852, Kavanagh travels to Corfu, returning to Borris with samples of Greek lace. She teaches a number of her tenants to copy these designs, which lead to the establishment of a local lace-making industry. She is elected to the Kilkenny Archaeological Society in 1851.
Kavanagh moves to Ballyragget Lodge, County Kilkenny, in 1860, dying there on July 14, 1885. She is buried in St. Mullin’s Abbey, Borris in County Carlow. She documented her travels in journals, with drawings and paintings of the sites she visited. These are held by the Kavanagh family, along with an oil portrait and a self-portrait. Her collection of roughly 300 Egyptian antiquities were donated to the Royal Society of Antiquaries of Ireland after her death. These collections were later moved to the National Museum of Ireland and form a core element of the Museum’s Egyptian collection. Copies of two of her watercolours, a self-portrait, and a landscape are on display in the Museum.
Barton is born in Dublin on April 21, 1856. Her father is a lawyer from Rochestown, County Tipperary, and her mother’s family is from County Galway. Educated privately, she is a liberal in social affairs. Her interests include horse racing. She is cousins with sisters Eva Henrietta and Letitia Marion Hamilton. She begins exhibiting her broad-wash watercolour paintings with the Water Colour Society of Ireland (WCSI) in 1872. She and her sister Emily visit Brussels in 1875, where they receive drawing tuition in drawing and fine art painting under the French artist Henri Gervex. There, along with her close friend Mildred Anne Butler, she begins to study figure painting and figure drawing.
In 1879, Barton joins the local committee of the Irish Fine Art Society. Afterward she trains at Paul Jacob Naftel‘s art studio in London. She, like Butler, studies under Naftel. In 1882, she exhibits her painting Dead Game, at the Royal Hibernian Academy (RHA). In 1884, she exhibits at the Royal Academy of Arts (RA). Later, she shows at the Japanese Gallery, the Dudley Museum and Art Gallery and the Grosvenor Gallery in London. In 1893, she becomes an associate member of the Society of Painters in Water Colours, attaining full membership in 1911.
Barton’s watercolours and townscapes become well known in both Dublin and London. This is helped by her illustrations in books of both cities including Picturesque Dublin, Old and New by Francis Farmer and her own book Familiar London.
(Pictured: “A rest in rotten row” – 1892 watercolour by Rose Maynard Barton. The painting shows a nurse and child resting on Rotten Row, Hyde Park, London.)
Henry is the third of four sons of the Rev. Robert Mitchell Henry, minister of the Reformed Presbyterian Church, and his wife Kate Ann Berry, eldest of four daughters of Thomas Berry, minister of the Baptist church, Athlone. His father becomes a Baptist in 1858 and pastor of Great Victoria Street Baptist Church, Belfast, resigning in 1875 to join the Plymouth Brethren.
Henry marries the painter Emily Grace Mitchell on September 17, 1903, in London at St Peter’s Anglican church, Bayswater. He returns to Ireland in 1910. From then until 1919 he lives on Achill Island, where he learns to capture the peculiar interplay of light and landscape specific to the west of Ireland. In 1919, he moves to Dublin and in 1920 he is one of the founders of the Society of Dublin Painters, originally a group of ten artists. He designs several railway posters, some of which, notably Connemara Landscape, achieves considerable sales. He separates from his wife in 1929. His second wife is the artist Mabel Young.
In the 1920s and 1930s, Henry is Ireland’s best-known artist, one who has a considerable influence on the popular image of the west of Ireland. Although he seems to cease experimenting with his technique after leaving Achill and his range is limited, he creates a large body of fine images whose familiarity is a testament to its influence.
Henry’s use of colour is affected by his red-green colour blindness. He loses his sight in 1945 and does not regain his vision before his death.
A commemorative exhibition of Henry’s work is held at Trinity College, Dublin, in 1973 and the National Gallery of Ireland holds a major exhibition of his work in 2004.
A painting by Henry is featured on an episode of the BBC‘s Antiques Roadshow, broadcast on November 12, 2006. The painting is given a value of approximately £40,000–60,000 by the Roadshow. However, due to the buoyancy of the Irish art market at the time, it sells for €260,000 on December 5, 2006, in James Adams’ and Bonhams’ joint Important Irish Art sale.
Pictured: “Roadside Cottages, below Mweelrea Mountain” by Paul Henry, RHA, oil on panel, 1940)
seamus dubhghaill 