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Death of Leo Whelan, Portrait & Genre Painter

(Michael) Leo Whelan, portrait and genre painter, dies from leukemia on November 6, 1956, at the Mater private nursing home in Dublin.

Whelan is born on January 17, 1892, at 20 St. George’s Villas, Fairview, Dublin, one of two sons and three daughters of Maurice Whelan, a draper, of County Kerry ancestry, and Mary Whelan (née Cruise), from County Roscommon. The family subsequently moves to 65 Eccles Street, where his parents operated a small hotel. Educated at Belvedere College, Dublin, he then attends the Dublin Metropolitan School of Art (DMSA) (1908–14), where he is a student of William Orpen, who has a huge influence on his artistic style. His fellow students at the school include Patrick Tuohy and Séan Keating.

Whelan is awarded many prizes in the Royal Dublin Society (RDS) Taylor art competitions, including one in 1912 for a portrait of his sister Lena, entitled On the Moors, rendered in a strongly academic technique. In 1916, he wins the Taylor scholarship for the Royal Hibernian Academy (RHA) schools for his finest early work, The Doctor’s Visit, an adroitly executed composition of contrasting shadows and light. Typical of many of his genre interiors, the painting depicts a room in the family home, with relatives as models: Whelan’s mother sits by the bed watching over his ill cousin, while his sister, dressed in a Mater hospital nurse’s uniform, is in the background opening the door for the doctor. The subtly evoked atmosphere of restrained emotion foreshadowed a hallmark of his mature style.

Whelan exhibits annually at the RHA for forty-five years (1911–56), averaging six works per year. He is elected an RHA associate in 1920, becoming a full member in 1924. He participates in the Exposition d’art irlandais at the Galerie Barbazanges in Paris in 1922. A visiting teacher at the RHA schools in 1924, he also teaches in the DMSA for a time. He has studios at 64 Dawson Street (1914–27) and 7 Lower Baggot Street (1931–56). Beginning in the 1910s, he receives regular commissions for portraits, constituting his primary source of income. Having become the family’s main breadwinner following his parents’ deaths in the 1920s, he concentrates most of his production on this lucrative activity, portraying numerous leading figures in the spheres of politics, academia, religion, society, medicine, and law.

Coming from a family of militant nationalist sympathies, in 1922 he begins a large group portrait, GHQ Staff of the Pre-Treaty IRA, including Michael Collins, Richard Mulcahy, Rory O’Connor, Liam Mellows and nine others, composed from individual studies of the men rendered during clandestine sittings in his home and studio. The painting, which he leaves unfinished, is in McKee Barracks, Dublin. He receives special praise for his portraits of John Henry Bernard, Provost of Trinity College Dublin (TCD) and of Louis Claude Purser, TCD vice-provost. The latter is awarded a medal at the 1926 Tailteann Games. He exhibits seventeen paintings at the Royal Society of Portrait Painters, London, of which he is a member, and shows two works at the Royal Academy of Arts, London. His 1929 portrait of John McCormack, one of his major patrons, is presented by the tenor’s family some fifty years later to the National Concert Hall, Dublin.

Situated securely in the academic tradition, in most of his portraits Whelan favours a sombre, restricted palette, with the sitter placed, in grave demeanour, against a monotone background with few accessories. In a 1943 interview he asserts that twentieth-century portraiture suffers from the drabness of modern costume, for which the artist must compensate by careful rendition of the subject’s hands. He tends to depart from his prevailing portrait style when painting women, whom he characteristically depicts in meticulously observed interiors, a notable example being his portrait of Society hostess Gladys Maccabe (c.1946; NGI).

Whelan’s commercial concentration on portraiture notwithstanding, he expresses his true talent in genre compositions, especially kitchen interiors, in which he emulates the technique of the Dutch painter Johannes Vermeer. Two of the most accomplished of these depict his sister Frances in the basement kitchen of the family home: The Kitchen Window (1927; Crawford Art Gallery, Cork) demonstrates a particularly skillful use of light, while Interior of a Kitchen (1935) is notable for the dexterous handling of objects of varied shapes and textures. His genre works include both urban and rural scenes, with a distinctive interest in portraying occupations and other activities. Gypsy (1923), an Orpenesque composition of a shawled woman in a west-of-Ireland landscape with a caravan in the background, receives wide contemporary critical acclaim. Jer (c.1925), depicting a man seated by the fire in a cottage interior, is reproduced in J. Crampton Walker’s Irish Art and Landscape (1927). The Fiddler (c.1932), a naturalistic, sensitively characterised study, is first shown at an Ulster Academy exhibition at Stranmillis, Belfast. A Kerry Cobbler is reproduced in Twelve Irish Artists (1940), introduced by Thomas Bodkin, as among the works denoting the development of a distinctively Irish school of painting.

In 1929, Whelan designs the first Irish Free State commemorative stamp, a portrait of Daniel O’Connell for the centenary of Catholic emancipation. Commissioned by the Thomas Haverty trust to paint an incident from the life of Saint Patrick for the 1932 Eucharistic Congress, he executes The Baptism by St. Patrick of Ethna the Fair and Fedelmia the Ruddy, Daughters of the Ard Rí Laoghaire, a work highly conservative in style. He rapidly completes an oil study of the papal legate, Lorenzo Lauri, also for the Eucharistic Congress. He is represented in the art competitions at the 1932 Summer Olympics in Los Angeles. His depiction of Saint Brigid, shown at the Academy of Christian Art exhibition (1940), becomes a familiar image owing to the wide circulation of reproductions.

Whelan’s political portraits are influential in creating a strong, assured image of the newly formed Irish state, and thus retain an historical significance. His posthumous portrait, The Late General Michael Collins, exhibited at the RHA in 1943 and now held in Leinster House, is an iconic, heroic image of the fallen leader. His portraits of Arthur Griffith and Kevin O’Higgins – commissioned posthumously, as is the Collins, by Fine Gael – also hang in Leinster House, while that of John A. Costello, exhibited at the RHA in 1949, is now held in the King’s Inns, Dublin. He paints two presidents, Douglas Hyde and Seán T. O’Kelly, both works currently in Áras an Uachtaráin. A portrait of Éamon de Valera, painted in 1955 when the sitter is Leader of the Opposition, is in Leinster House. In 1954, he designs a second commemorative stamp, picturing a reproduction of a portrait bust of John Henry Newman, to mark the centenary of the Catholic University of Ireland.

Whelan is elected an honorary academician of both the Ulster Academy of Arts (1931), and the Royal Ulster Academy (1950). He becomes a member of the United Arts Club in 1934. As a representative of the RHA, he sits on the board of governors of the National Gallery of Ireland for many years, and is on the advisory committee of the Municipal Gallery of Modern Art. Unmarried, he resides until his death at the Eccles Street address, with two sisters who continue to manage the family hotel. He dies on November 6, 1956, from leukemia at the Mater private nursing home in Dublin. He is buried in Glasnevin Cemetery.

(From: “Whelan, (Michael) Leo,” by Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Columba, Founder of the Monastery of Iona

Columba (or Colum Cille), Irish abbot and missionary evangelist credited with spreading Christianity in what is today Scotland at the start of the Hiberno-Scottish mission., dies on June 9, 597.

He is born into the Cenél Conaill, a branch of the Northern Uí Néill, then Ireland’s most powerful dynasty. His place of birth is reputedly Gartan in modern day County Donegal, though there is no contemporary evidence for this.

His is the son of Fedlimid, who is said to be a great-grandson of Niall Nóigiallach, and his wife Eithne. The Irish form of his name, Colum Cille, has been taken to mean ‘Dove of the Church’. He is fostered and baptised by a priest named Cruithnechán, who lives near his birthplace. It is reputed that he undergoes schooling in bardic studies. His biographer, Adomnán (c. 624–704), states that he receives monastic training under a bishop whom he names variously as Findbarr or Finnio, who can most likely be identified as Finnian of Movilla. Otherwise little is known of his early life.

Adomnán states that Columba leaves Ireland in his forty-second year. Later tradition records that his departure is an act of penitence for instigating the battle of Cúl Dreimhne in 561, supposedly because he surreptitiously copies a Psalter lent to him by his former master, Finnian. Adomnán simply states, however, that he leaves Ireland to become a “pilgrim for Christ.” He probably also wishes to sever himself from the secular concerns arising from his family connections. Whatever the reason, he remains in Scotland for the rest of his life, returning to Ireland only on a few occasions.

His choice of Iona, an island off the Ross of Mull on the western coast of Scotland, as a monastic refuge is influenced by the contacts that his family has with the kingdom of Dál Riata and its rulers. Certainly it is under Dál Riata patronage that he subsequently founds the island monasteries of Campus Lunge (on Tiree) and Hinba, which more recent opinion takes to have been the island of Colonsay. He also founds churches in Inverness, probably following on his meeting with and likely conversion of Bridei I, king of the Picts. All of Iona’s foundations, on both sides of the Irish Sea, are under the headship of the abbot of the mother-house, and many of the abbots of the most important houses of the paruchia of Iona are of Columba’s kin-group. Although many foundations elsewhere in Scotland and in Northumbria are later attributed to him, it is doubtful whether Iona evangelises outside of Ireland, Dál Riata and Pictland. Yet there can be no doubt of his political influence. He “ordains” Áedán king of Dál Riata, and his influence and connections enable him to strengthen the alliance between the Uí Néill and Dál Riata.

One of the few, if not the only, times he leaves Scotland is toward the end of his life, when he returns to Ireland to found the monastery at Durrow.

According to traditional sources, Columba dies in Iona on Sunday, June 9, 597, and is buried by his monks in the abbey he created. However, Dr. Daniel P. McCarthy disputes this and assigns a date of 593 to Columba’s death. The Annals record the first raid made upon Iona in 795, with further raids occurring in 802, 806 and 825. Columba’s relics are finally removed in 849 and divided between Scotland and Ireland.

Colmcille is one of the three patron saints of Ireland, after Patrick and Brigid of Kildare. He is the patron saint of the city of Derry, where he founded a monastic settlement in c. 540. The Catholic Church of Saint Colmcille’s Long Tower, and the Church of Ireland St. Augustine’s Church both claim to stand at the spot of this original settlement. The Church of Ireland Cathedral, St. Columb’s Cathedral, and the largest park in the city, St. Columb’s Park, are named in his honour. The Catholic Boys’ Grammar School, St. Columb’s College, has him as Patron and namesake.

St. Columba’s National School in Drumcondra is a girls’ school named after the saint.

St. Colmcille’s Primary School and St. Colmcille’s Community School are two schools in Knocklyon, Dublin, named after him, with the former having an annual day dedicated to the saint on June 9.

The town of Swords, Dublin is reputedly founded by Colmcille in 560 AD. St. Colmcille’s Boys’ National School and St. Colmcille’s Girls’ National School, both located in the town of Swords, are also named after the Saint as is one of the local Gaelic teams, Naomh Colmcille.

The Columba Press, a religious and spiritual book company based in Dublin, is named after Colmcille.

Aer Lingus, Ireland’s national flag carrier has named one of its Airbus A330 aircraft in commemoration of the saint (reg: EI-DUO).

(Pictured: Columba banging on the gate of Bridei, son of Maelchon, King of Fortriu)


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Birth of Cathal O’Byrne, Antiquarian, Writer & Entertainer

Cathal O’Byrne, an antiquarian, writer, and entertainer, is born on June 1, 1876, in Kilkeel, County Down.

O’Byrne is the son of James Burns, a farmer, and his wife Isabella (née Arnett). His biographer states that his parents came from County Wicklow, which would imply that their name had been anglicised from the form “O’Byrne,” which their son readopts. He never marries and spends most of his life living with his unmarried sister Teresa. He has other siblings, as he is survived by four nieces and two nephews.

O’Byrne’s childhood is spent in the Balmoral district of south Belfast in a comfortable but slightly precarious middle-class Catholic environment. Although sparse in direct autobiographical references, his writings contain references to excursions around the Malone and Stranmillis areas, with particular reference to the Botanic Gardens. He is educated at St. Malachy’s College. After leaving school, he manages a spirit grocery on the Beersbridge Road in east Belfast and is active in the Sexton Debating Society, named after Thomas Sexton, then home rule MP for Belfast West, and led by Joseph Devlin, who remains a lifelong friend despite their later political differences. He also studiess music with Carl Hardebeck, acquiring an extensive knowledge of Irish folk music and becoming an accomplished singer of Irish tunes in Hardebeck’s arrangements.

O’Byrne subsequently joins the Belfast Gaelic League, becoming a leading member, though he never masters the Irish language. He moves in the literary and antiquarian circles around Francis Joseph Bigger, whose friendship becomes central to his career and self-definition. He is a regular participant in Bigger’s soirées and establishes friendships with many prominent political and cultural figures, among them Roger Casement and Alice Milligan. Although he is usually seen as a specifically northern writer, he draws extensively on a wider Irish tradition of defensively self-glorifying Catholic-nationalist antiquarianism, including the works of W. H. Grattan Flood and Archbishop of Tuam, John Healy, a major source for his later pamphlet on Saint Patrick and for the descriptions of Ulster monasteries in As I Roved Out: A Book of the North (1946).

In 1900, O’Byrne publishes a collection of verses, A Jug of Punch, of which no copies are known to survive, and in 1905 collaborates with Cahir Healy on another collection, The Lane of the Thrushes, which applies Celtic revival imagery to rural Ulster. He publishes another collection, The Grey Feet of the Wind, in 1917. The manuscript of his unpublished Collected Poems (1951) is in the Public Record Office of Northern Ireland.

In 1902, O’Byrne gives up the spirit grocery to work full time as a journalist, singer, and storyteller. He appears at a wide variety of concerts, where he cuts a striking figure in Gaelic dress with saffron kilt. He provides musical interludes at productions by the Ulster Literary Theatre, and his recitation of Eleanor Alexander’s humorous piece on the battle of Scarva inspires Harry Morrow’s celebrated satirical play Thompson in Tir-na-nOg (1912). In 1913, he founds and manages the Celtic Players, a theatre company which stages some plays of his own composition, including The Dream of Bredyeen Dara, possibly a nativity story incorporating Saint Brigid of Kildare.

During World War I O’Byrne achieves immense cross-community success with a weekly dialect column in the Unionist paper Ireland’s Saturday Night, describing the domestic activities of “Mrs. Twigglety” and her working-class friends. At the same time, he has abandoned his earlier support for Devlin’s home rule politics to embrace physical-force republicanism under the influence of Denis McCullough. During Casement’s imprisonment and trial, he carries on an intense correspondence with him, comforting him, urging him to convert to Catholicism, and sending him religious icons. Some commentators have detected homoerotic undertones in their exchanges, though this is a matter of opinion.

After the Easter Rising of 1916, O’Byrne is active in the reconstituted Irish Republican Army (IRA), and in 1919–20 he smuggles arms from Belfast to Dublin. In August 1920, he emigrates to the United States, where he goes on a six-month lecture tour to raise funds for victims of the Belfast pogroms. He allegedly raises $100,000 and funds the construction of Amcomri Street in west Belfast. He spends the next eight years in the United States as a speaker and entertainer, contributing to American Catholic publications. He develops an abiding fondness for Chicago and considers applying for American citizenship. At one point he corresponds with the film star Rudolph Valentino, who admires his verses on Italian themes.

O’Byrne returns to Belfast in September 1928 with the intention of opening a bookshop in Dublin, but this has to be abandoned after the loss of his savings in the Wall Street crash of October 1929. He settles into respectable semi-poverty in Cavendish Street, off the Falls Road, and remains a presence on the fringes of Belfast literary life. In 1930, he founds the Cathal O’Byrne Comedy Company, which performs plays of his own composition, notably the slight comedies The Returned Swank and The Burden, drawing on The Drone, by Samuel Waddell. In 1932, he sings at a concert in the Dublin Mansion House held to mark the Eucharistic Congress. He writes extensively for Catholic publications in Ireland and elsewhere, in particular the Capuchin Annual, Irish Monthly, and Irish Rosary, and publishes several pamphlets with the Catholic Truth Society (CTS). The sensibility displayed in these writings has much in common with that of Brian O’Higgins, Aodh de Blácam, Daniel Corkery and Gearoid Ó Cuinneagáin.

O’Byrne also publishes The Gaelic Source of the Brontë Genius (1932), Pilgrim in Italy (1930), and the story collection From Far Green Hills (1935), which retells gospel episodes in the style of an Irish storyteller with elements of Wildean orientalist exoticism. Pilgrim in Italy is published by the Three Candles Press of Colm Ó Lochlainn, an old friend through the Bigger circle, as is his last story collection, Ashes on the Hearth (1948), a series of slight reveries in which the narrator, wandering the back streets of Dublin, relives such resonant moments as the last days of James Clarence Mangan.

O’Byrne is best remembered, however, for As I Roved Out (1946), a collection of 128 articles on Belfast history originally published from the late 1930s in the Belfast Irish News. It displays considerable knowledge of Belfast history, drawn from lifelong reading and from conversations with Bigger, and can be seen as at once the summation of and a lament for the northern branch of the Irish revival associated with such figures as Bigger and Alice Milligan. The pieces, moving out from central Belfast to surrounding rural districts are held together by the storyteller surveying the landscape. Surveys of Belfast by journalistic flâneurs are not unprecedented, O’Byrne dismisses the mercantile and unionist establishment of Belfast as hopelessly materialistic and oppressive, casting himself and, by implication, his Catholic/nationalist readers as internal exiles forced into the side streets of history, treasuring a martyred religious faith and gazing back wistfully to the bright and fleeting hope represented by the Society of United Irishmen and the cultural revival. The book is punctuated by expressions of anger against the whole heritage of the Ulster plantation. The economic success of the planters is attributed solely to their plunder of the natives. The textile industry is discussed solely in terms of exploitation and starvation wages. Shipbuilding is dismissed with a remark that ships were built in Ulster long before the planters arrived. Finally, the history of Belfast is summed up in the confrontation between the Belfast merchant, ancestor of the unionist “establishment,” and would-be slave-trader Waddell Cunningham and the United Irishman and self-declared “Irish slave” William Putnam McCabe.

There are numerous contemptuous references to the Sabbatarianism and respectable dullness of late Victorian Belfast, contrasted with the lively artistic activities of the volunteer period. The book is reprinted three times in O’Byrne’s lifetime and is seen by nationalists as an underground classic. Its image of Belfast layered with fragmentary and hidden memories has been drawn on by authors as diverse as Ciaran Carson and Gerry Adams, and in the early twenty-first century O’Byrne is commemorated as one of the city’s significant writers. A plaque is placed on his Cavendish Street house in 2004. It is ironic that his reputation should rest on his memorialisation of Belfast, for he denounced it as “interminable miles of mean streets . . . one of the ugliest cities in the world.”

O’Byrne is believed by some, though not all, of his acquaintances to be homosexual. This view is supported by references to the descriptions of male beauty (based on Gaelic saga models) which recur in his writings and by the expressions of longing which permeate his work (which might also reflect a wider sense of loneliness or cultural displacement). His last years, 1954–57, are spent in the Nazareth Nursing Home in Ormeau Road, Belfast, where he dies on August 1, 1957, a month after suffering a stroke. His funeral is crowded, and his gravestone describes him as “singer, poet and writer who brought joy into the lives of others.”

(From: “O’Byrne, Cathal” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of St. Columba

St. Columba, also called Colum or Columcille, Irish abbot and missionary Evangelist is born on December 7, 521, in Tír Chonaill (mainly modern County Donegal) in the north of Ireland. He is credited with spreading Christianity in what is today Scotland at the start of the Hiberno-Scottish mission. He also founds the important abbey on Iona, which becomes a dominant religious and political institution in the region for centuries. He is the Patron Saint of Derry and is highly regarded by both the Gaels of Dál Riata and the Picts. Today he is remembered as a Catholic saint and one of the Twelve Apostles of Ireland.

Columba studies under Saints Finnian of Movilla and Finnian of Clonard and is ordained into the priesthood around 551. He founds churches and the famous monasteries Daire Calgaich, in Derry, and Dair-magh, in Durrow.

Columba and his twelve disciples erect a church and monastery on the island of Iona (c. 563) as their springboard for the conversion of Scotland. It is regarded as the mother house and its abbots as the chief ecclesiastical rulers even of the bishops. Columba gives formal benediction and inauguration to Áedán mac Gabráin of Dunadd as king of Dál Riata.

Columba accompanies Aidan to Ireland in 575 and takes a leading role in a council held at Druim Cetta, which determines the position of the ruler of Dál Riata in relation to the king of Ireland. The last years of Columba’s life are apparently primarily spent in Iona, where he is already revered as a saint. He and his associates and successors spread the gospel more than any other contemporary group of religious pioneers in Britain.

Columba dies on Iona and is buried in 597 by his monks in the abbey he created. In 794 the Vikings descend on Iona. Columba’s relics are finally removed in 849 and divided between Scotland and Ireland. The parts of the relics which go to Ireland are reputed to be buried in Downpatrick, County Down, with St. Patrick and St. Brigid or at Saul Church neighbouring Downpatrick.

Three Latin hymns may be attributed to Columba with some degree of certainty. Excavations in 1958 and 1959 revealed Columba’s living cell and the outline of the original monastery.

St. Columba’s Feast Day, 9 June, has been designated as International Celtic Art Day. The Book of Kells and the Book of Durrow, great medieval masterpieces of Celtic art, are associated with Columba.


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St. Patrick Returns to Ireland

st-patrick

St. Patrick returns to Ireland as a missionary bishop on April 5, 456.

Patrick is born in Britain of a Romanized family. At age 16, he is taken from his family by Irish raiders and carried into slavery in Ireland. During six bleak years spent as a herdsman, he turns with fervour to his faith. Hearing at last in a dream that the ship in which he is to escape is ready, he flees his master and finds passage to Britain. There he is reunited with his family.

The best-known passage in the Confessio, his spiritual autobiography, tells of a dream where he is told to walk once more among the Irish. He is reluctant to respond to the call for a long time. Even on the eve of re-embarkation for Ireland he is beset by doubts of his fitness for the task. Once in the field, however, his hesitations vanish. Utterly confident in the Lord, he journeys far and wide, baptizing and confirming with untiring zeal. On at least one occasion, he is cast into chains. On another, he addresses with lyrical pathos a last farewell to his converts who have been slain or kidnapped by the soldiers of Coroticus.

Careful to deal fairly with the non-Christian Irish, he nevertheless lives in constant danger of martyrdom. The evocation of such incidents of what he calls his “laborious episcopate” is his reply to a charge that he originally sought office for the sake of office. In point of fact, he is a most humble-minded man, pouring forth a continuous paean of thanks to his Maker for having chosen him as the instrument whereby multitudes who have worshiped “idols and unclean things” have become “the people of God.”

The phenomenal success of Patrick’s mission is not, however, the full measure of his personality. Since his writings have come to be better understood, it is increasingly recognized that, despite their occasional incoherence, they mirror a truth and a simplicity of the rarest quality. Not since St. Augustine of Hippo has any religious diarist bared his inmost soul as Patrick does in his writings.

It is not possible to say with any assurance when Patrick was born. There are, however, a number of pointers to his missionary career having lain within the second half of the 5th century. In the Coroticus letter, his mention of the Franks as still “heathen” indicates that the letter must have been written between 451, the date generally accepted as that of the Franks’ irruption into Gaul as far as the Somme River, and 496, when they are baptized en masse. Patrick, who speaks of himself as having evangelized heathen Ireland, is not to be confused with Palladius, sent by Pope Celestine I in 431 as “first bishop to the Irish believers in Christ.”

St. Patrick is said to be buried at Down Cathedral in Downpatrick, County Down, alongside St. Brigid and St. Columba, although this has never been proven. Saint Patrick Visitor Centre is a modern exhibition complex located in Downpatrick and is a permanent interpretative exhibition centre featuring interactive displays on the life and story of Saint Patrick. It provides the only permanent exhibition centre in the world devoted to Saint Patrick.