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Birth of Political Economist John Elliott Cairnes

John Elliott Cairnes, Irish-born political economist, is born on December 26, 1823, at Castlebellingham, County Louth. He has been described as the “last of the classical economists.”

Cairnes is the son of William Elliott Cairnes (1787–1863) of Stameen, near Drogheda, and Marianne Woolsey, whose mother is the sister of Sir William Bellingham, 1st Baronet of Castlebellingham. William decides upon a business career, against the wishes of his mother, Catherine Moore of Moore Hall, Killinchy, and becomes a partner in the Woolsey Brewery at Castlebellingham. In 1825, he starts on his own account in Drogheda, making the Drogheda Brewery an unqualified success. He is remembered for his great business capacity and for the deep interest he takes in charity.

After leaving school, Cairnes spends some years in the counting house of his father at Drogheda. His tastes, however, lay altogether in the direction of study, and he is permitted to enter Trinity College Dublin, where he takes the degree of BA in 1848, and six years later that of MA. After passing through the curriculum of Arts, he engages in the study of Law, and is called to the Irish bar. But he lacks a desire to pursue the legal profession, and over some ensuing years, he devotes himself to writing in various publications about social and economic questions and treatises that relate to Ireland. He focuses mostly on political economy, which he studies thoroughly.

While residing in Dublin, Cairnes makes the acquaintance of the Archbishop of Dublin Richard Whately, who conceives a very high respect for Cairnes’ character and abilities. In 1856, a vacancy occurs in the chair of political economy at Dublin, founded by Whately, and Cairnes receives the appointment. In accordance with the regulations of the foundation, the lectures of his first year’s course are published. The book appears in 1857 with the title Character and Logical Method of Political Economy. It follows up on and expands John Stuart Mill‘s treatment in the Essays on some Unsettled Questions in Political Economy, and forms an admirable introduction to the study of economics as a science. In it the author’s peculiar powers of thought and expression are displayed to the best advantage. Logical exactness, precision of language, and firm grasp of the true nature of economic facts, are the qualities characteristic of this as of all his other works. If the book had done nothing more, it would still have conferred inestimable benefit on political economists by its clear exposition of the true nature and meaning of the ambiguous term law. To the view of the province and method of political economy expounded in this early work the author always remains true, and several of his later essays, such as those on Political Economy and Land, Political Economy and Laissez-Faire, are but reiterations of the same doctrine. His next contribution to economical science is a series of articles on the gold question, published partly in Fraser’s Magazine, in which the probable consequences of the increased supply of gold attendant on the Australian and Californian gold discoveries are analysed with great skill and ability. And a critical article on Michel Chevalier‘s work, On the Probable Fall in the Value of Gold, appears in the Edinburgh Review for July 1860.

In 1861, Cairnes is appointed to the professorship of jurisprudence and political economy in Queens College Galway, and in the following year he publishes his admirable work The Slave Power, one of the finest specimens of applied economical philosophy. The inherent disadvantages of the employment of slave labour are exposed with great fullness and ability, and the conclusions arrived at have taken their place among the recognised doctrines of political economy. The opinions expressed by Cairnes as to the probable issue of American Civil War are largely verified by the actual course of events, and the appearance of the book has a marked influence on the attitude taken by serious political thinkers in England towards the Confederate States of America.

During the remainder of his residence at Galway, Cairnes publishes nothing beyond some fragments and pamphlets, mainly upon Irish questions. The most valuable of these papers are the series devoted to the consideration of university education. His health, at no time very good, is still further weakened in 1865 by a fall from his horse. He is ever afterwards incapacitated from active exertion and is constantly liable to have his work interfered with by attacks of illness.

In 1866 Cairnes is appointed professor of political economy in University College, London. He is compelled to spend the session 1868–1869 in Italy, but on his return continues to lecture until 1872. During his last session he conducts a mixed class, ladies being admitted to his lectures. His health soon renders it impossible for him to discharge his public duties. He resigns his post in 1872, and retires with the honorary title of professor emeritus of political economy. In 1873 his own university confers on him the degree of LL.D.

Cairnes dies at the age of 51 at Blackheath, London, England, on July 8, 1875.


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Birth of Mary Swanzy, Landscape & Genre Artist

Mary Swanzy, Irish landscape and genre artist, is born in Dublin on February 15, 1882. Noted for her eclectic style, she paints in many styles including cubism, futurism, fauvism, and orphism, she is one of Ireland’s first abstract painters.

Swanzy is the second of three daughters of Sir Henry Rosborough Swanzy, an eye surgeon, and his wife Mary (née Denham). She attends Alexandra College, Earlsfort Terrace, a finishing school at the Lycée in Versailles, France, and a day school in Freiburg, Germany. This education means that she is fluent in French and German. She goes on to take art classes at Mary Manning‘s studio, under the direction of John Butler Yeats. Manning encourages her to study modelling with John Hughes at the Dublin Metropolitan School of Art.

Living within walking distance of the National Gallery of Ireland, she spends a lot of time studying and copying the great masters. Her first exhibition is with the Royal Hibernian Academy (RHA) in 1905 with Portrait of a child, continuing to exhibit portraits every year until 1910. In 1905 she goes to Paris and works at the Académie Delécluse, an atelier-style art school. She goes on to attend the studio of Antonio de La Gándara in 1906, and takes classes at Académie de la Grande Chaumière and Académie Colarossi. While in Paris she is exposed to the works of Gauguin, Matisse, and Picasso, which make a lasting impression on her.

On her return to Dublin, Swanzy paints portraits and genre scenes and holds her first show at Mill’s Hall, Merrion Row in 1913. She holds another show there in 1919, where she exhibits nearly 50 pieces. This exhibition is reviewed by Sarah Purser who notes the lack of melancholy and light optimism in Swanzy’s Irish landscapes. Swanzy paints in a number of styles, often reflecting the major art developments in Paris.

After the deaths of her parents, she is financially independent and can travel, spending her time between Dublin and Saint-Tropez during World War I while continuing to paint. She also exhibits with the Société des Artistes Indépendants in 1914 and 1916, being elected to the committee in 1920. While visiting her sister who is involved with the Protestant relief mission in Yugoslavia and Czechoslovakia, she paints landscapes, village life, and peasant scenes. These works are shown in the autumn of 1921 in the Dublin Painters’ Gallery with six other artists including Jack Butler Yeats, Paul Henry, and Clare Marsh with whom she shares a studio.

Swanzy begins to travel to more exotic countries from the 1920s, Honolulu around 1923, and later Samoa. As a result, she paints local tropical flowers, trees, and native women, with a palette and style similar to that of Fauvism. She stays for a time in Santa Barbara, California, working in a local studio and exhibiting some of her Samoan work at the Santa Barbara Arts Club Gallery. She returns to Ireland in February 1925 and exhibits three of her Samoan paints at the RHA, and 14 at her one-woman show in the Galerie Bernheim-Jeune, Paris in October 1925. Gertrude Stein writes her to congratulate her on her Paris exhibition.

In the mid 1920s Swanzy settles in Blackheath, London, making regular trips to Dublin and abroad. In 1932 Purser holds an exhibition of Swanzy’s work for invited guests in her house. At this time her painting is influenced by orphism and is reviewed positively. Her work becomes more allegorical in later years, with The message in the Hugh Lane Gallery demonstrating this. During World War II she stays with her sister in Coolock for three years. In 1943, she holds a one-woman show at the Dublin Painters’ Gallery, and is also featured at the first Irish Exhibition of Living Art. She is exhibited at St. George’s Gallery, London in 1946 along with Henry Moore, Marc Chagall, and William Scott.

Swanzy is made an honorary member of the RHA in 1949, showing with them in 1950 and 1951. She does not exhibit in Ireland for a number of years, but the Hugh Lane Gallery holds a major retrospective of her work in 1968. Following this she holds two one-woman shows at the Dawson Gallery in 1974 and 1976. In 1975 she is featured at the Cork ROSC art exhibition and resumes showing with the RHA. She continues to paint until her death at her home in London on July 7, 1978.

In 1982 the Taylor Galleries holds an exhibition to mark the centenary of Swanzy’s birth. More recently she is featured in the Irish Museum of Modern Art (IMMA) 2013 exhibition Analysing Cubism. From October 2018-February 2019, also in IMMA, she is the subject of the solo exhibition Mary Swanzy Voyages.

(Pictured: Sunlit Landscape, oil-on-canvas, by Mary Swanzy)