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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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Birth of Brigid Ganly, Painter & Sculptor

Brigid Ganly HRHA, Irish painter and sculptor, is born Rosaleen Brigid O’Brien on January 29, 1909, in Dublin.

Ganly is one of five children born to Dermod O’Brien and his wife Mabel Smiley. Her father is a painter. His grandfather is the Irish republican William Smith O’Brien. She grows up in Country Limerick at a farm in Cahirmoyle until the family moves to Fitzwilliam Square in Dublin. She goes on to attend the Metropolitan School of Art where she has the opportunity to study under Patrick Tuohy, Seán Keating and Oliver Sheppard. She is a talented sculptor and wins several awards, including the Taylor scholarship in 1929, for her allegorical male nude, Pity. She spends time in Paris in 1951 where she trains with André Lhote. She travels to Greece where Lhote continues to influence her work.

Ganly also studies painting in the Royal Hibernian Academy School where she has Margaret Clarke and Seán O’Sullivan as teachers. She is made an associate of the Royal Hibernian Academy in 1928 and becomes a member in 1935, though in 1969 she resigns her membership in protest at the lack of young artists being given the opportunity to exhibit. In 1972 she is made an honorary member and returns.

Ganly is a representational artist and while known as a portrait artist, she also paints landscapes, interiors and may be best known for her still lifes. Some of her best works are portraits of her husband, her sister Ethel, her father, and her friend Sheila Pim. She illustrates the book-jackets of Pym’s works. She has many exhibitions, with the RHA and the Water Colour Society of Ireland. There is a retrospective of her life in 1998 in the Hugh Lane Gallery and her works are in the collections there. She is also in the collections of the Waterford Municipal Gallery, Crawford Art Gallery, Cork and in The National Self-Portrait Collection of Ireland. She is part of the 2014 exhibition “Irish Women Artists: 1870-1970.”

Ganly’s sister-in-law is Kitty Wilmer O’Brien with whom she often exhibits. She marries Andrew Ganly, a dental surgeon and writer, in 1936. He dies in 1982. They have two children, Eoghan and Phillida.

Ganly dies at the age of 93 on March 25, 2002.


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Death of Thomas Addis Emmet, Lawyer & Politician

Thomas Addis Emmet, Irish and American lawyer and politician, dies at his home in New York on November 14, 1827, following a seizure while in court. He is a senior member of the revolutionary republican group Society of United Irishmen in the 1790s and Attorney General of New York 1812–1813.

Emmett is born in the Hammond’s Marsh area of Cork, County Cork, on April 24, 1764, the son of Dr. Robert Emmet from County Tipperary (later to become State Physician of Ireland) and Elizabeth Mason of County Kerry, both of whose portraits are today displayed at Cork’s Crawford Art Gallery. He is the elder brother of Robert Emmet, who is executed for leading the Irish Rebellion of 1803, becoming one of Ireland’s most famous republican martyrs. His sister, Mary Anne Holmes, holds similar political beliefs.

Emmet is educated at Trinity College, Dublin and is a member of the committee of the College Historical Society. He later studies medicine at the University of Edinburgh and is a pupil of Dugald Stewart in philosophy. After visiting the chief medical schools on the continent, he returns to Ireland in 1788. However, the sudden death of his elder brother, Christopher Temple Emmet (1761–1788), a student of great distinction, induces him to follow the advice of Sir James Mackintosh to forsake medicine for the law as a profession.

Emmet is a man of liberal political sympathies and becomes involved with a campaign to extend the democratic franchise for the Irish Parliament and to end discrimination against Catholics. He is called to the Irish bar in 1790 and quickly obtains a practice, principally as counsel for prisoners charged with political offenses. He also becomes the legal adviser of the Society of the United Irishmen.

When the Dublin Corporation issues a declaration of support of the Protestant Ascendancy in 1792, the response of the United Irishmen is their nonsectarian manifesto which is largely drawn up by Emmet. In 1795 he formally takes the oath of the United Irishmen, becoming secretary in the same year and a member of the executive in 1797. As by this time the United Irishmen had been declared illegal and driven underground, any efforts at peaceful reform of government and Catholic emancipation in Ireland are abandoned as futile, and their goal is now the creation of a non-sectarian Irish republic, independent from Britain and to be achieved by armed rebellion. Although Emmet supports this policy, he believes that the rebellion should not commence until French aid has arrived, differing from more radical members such as Lord Edward FitzGerald.

British intelligence infiltrates the United Irishmen and manages to arrest most of their leaders on the eve of the rebellion. Though not among those taken at the house of Oliver Bond on March 12, 1798, Emmet is arrested about the same time and is one of the leaders imprisoned initially at Kilmainham Gaol and later in Scotland at Fort George until 1802. Upon his release he goes to Brussels where he is visited by his brother Robert in October 1802 and is informed of the preparations for a fresh rising in Ireland in conjunction with French aid. However, at that stage France and Britain are briefly at peace, and the Emmets’ pleas for help are turned down by Napoleon.

Emmet receives news of the failure of his brother’s rising in July 1803 in Paris, where he is in communication with Napoleon. He then emigrates to the United States and joins the New York bar where he obtains a lucrative practice.

After the death of Matthias B. Hildreth, Emmet is appointed New York State Attorney General in August 1812 but is removed from office in February 1813 when the opposing Federalist Party obtains a majority in the Council of Appointment.

Emmet’s abilities and successes become so acclaimed, and his services so requested that he becomes one of the most respected attorneys in the nation, with United States Supreme Court Justice Joseph Story declaring him to be “the favourite counsellor of New York.” He argues the case for Aaron Ogden in the landmark United States Supreme Court case of Gibbons v. Ogden, 22 U.S. 1 (1824) relating to the Commerce and Supremacy clauses of the United States Constitution.

Emmet dies on November 14, 1827, while conducting a case in court regarding the estate of Robert Richard Randall, the founder of Sailors’ Snug Harbor, a home for needy seamen in Staten Island, New York. He is buried in St. Mark’s Church in-the-Bowery churchyard in the East Village, New York City, where a large white marble monument marks his grave.


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Birth of Letitia Marion Hamilton, Landscape Artist

Letitia Marion Hamilton, Irish landscape artist and Olympic bronze medalist, is born on July 30, 1878, in Hamwood House, County Meath.

Hamilton is the daughter of Charles Robert Hamilton and Louisa Caroline Elizabeth Brooke. She attends Alexandra College. She and her sister Eva are great-granddaughters of the artist Marianne-Caroline Hamilton, and cousins of watercolourist Rose Maynard Barton. The sisters’ father can only afford one dowry, so the sisters remain unmarried, with their artistic careers helping to support the household. Both she and her sister study at the Dublin Metropolitan School of Art under William Orpen. She studies enameling there also, winning a silver medal in 1912 by both the School and the Board of Education National Commission. Her work shows elements of Art Nouveau, foreshadowing her later modernist leanings. She also studies in Belgium with Frank Brangwyn and the Slade School of Fine Art.

Hamilton first exhibits in 1902 and goes go on to become a prolific painter of the Irish countryside, exhibiting more than 200 paintings at the Royal Hibernian Academy (RHA). Both sisters travel widely in Europe, with Letitia being influenced by modern European artistic trends of the early 20th-century. She is internationally exhibited, Royal Academy of Arts, Burlington Gallery and Kensington Art Gallery in London, in Scotland, and Paris. Her exposure to impressionism comes from studying with Anne St. John Partridge in France. Her style matures in the 1920s. That year, she is one of the founding members of the Society of Dublin Painters, along with Paul Henry, Grace Henry, Mary Swanzy, and Jack Butler Yeats. It is around this time that she changes her signature from MH (May Hamilton) to LMH, reflecting her full name. She works on small oil sketches, which later develop into finished works. Her style is rapid, with loose, fluid brush strokes. In the early 1920s, she travels to Venice, painting on a gondola studio loaned to her by artist and friend Ada Longfield. The works from this trip are considered among her best, with her exploring light effects, pastel shades, and strong outlines. She later employs these elements into her works on Irish landscapes.

Hamilton becomes a member of the Royal Hibernian Academy in 1943. In 1948, she becomes the last person to win a bronze medal at the art competitions at the London Olympic Games. She serves as president of the Society of Dublin Painters in the late 1950s. Despite her failing eyesight later in life, she continues to paint, mounting her final exhibition in 1963, a year before her death at the age of 86 in Dublin on August 11, 1964. She is also a committee member of the Water Colour Society of Ireland.

Examples of Hamilton’s work are held in a number of collections, including Hugh Lane Gallery, Limerick City Gallery of Art, Crawford Art Gallery, Ulster Museum, National Gallery of Ireland, and Waterford Art Gallery. Her painting Canal Scene in Venice attains the highest price for a Hamilton work in 2004, which sells at Sotheby’s in London, for £33,600.

(Pictured: “Slieve Donard, Co. Down” by Letitia Marion Hamilton, oil on canvas, signed with monogram lower left)


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Death of Margaret Clarke, Portrait Painter

Margaret Clarke RHA (née Crilley), Irish portrait painter, dies in Dublin on October 31, 1961.

Crilley is born in Newry, County Down, (present-day Northern Ireland), on August 1, 1884, one of six children of Patrick Crilley. Her date of birth is often given as July 29, 1888, though local records do not support this, suggesting she is born four years earlier. Having initially trained at Newry technical school with her sister Mary, intending to become a teacher, in 1905, she wins a scholarship to attend the Dublin Metropolitan School of Art. There she studies under William Orpen, who regards her as one of his most promising students. She completes her studies in 1911 attaining an Art Teacher’s Certificate and begins working as Orpen’s assistant.

In 1914, Crilley marries her fellow student Harry Clarke, much to the surprise of their family and acquaintances. The couple moves into a flat at 33 North Frederick Street. They have three children, Michael, David and Ann. Harry’s brother, Walter, marries Margaret’s sister, Mary, in 1915.

Clarke first exhibits with the Royal Hibernian Academy in 1913 and goes on to exhibit over 60 artworks in the forty years until 1953, the majority being portraits. Among the portrait commissions she receives are ones for Dermod O’Brien, President Éamon de Valera, Archbishop John Charles McQuaid, and Lennox Robinson. She spends a great deal of time on the Aran Islands with fellow artist Seán Keating and her husband, from which she produces a number of landscapes and smaller studies.

Clarke becomes the director of the Harry Clarke Stained Glass Studios following the death of her husband in 1931.

A critic notes in 1939 that Clarke produces “remarkable drawings in which individuality is caught in a few swift economical lines.” Over her lifetime she wins many awards including the Tailteann gold, silver and bronze medals in 1924, and another Tailteann bronze in both 1928 and 1932. She is elected an Associate of the Royal Hibernian Academy (ARHA) in 1926, and a full RHA member in 1927. Upon the founding of the Irish Exhibition of Living Art in 1943, she is appointed a member of the executive committee.

Clarke dies in Dublin on 31 October 31, 1961, and is buried in the Redford Cemetery, Greystones, County Wicklow. She is commemorated with a blue plaque at her birthplace in Newry.

Clarke’s work can be found in the collections of the National Gallery of Ireland, the Hugh Lane Gallery, the Crawford Art Gallery, the Ulster Museum, Limerick City Gallery of Art, The National Self-Portrait Collection of Ireland, and the Pontifical Irish College in Rome.

The exhibition at National Gallery of Ireland in 2017 reevaluates Margaret Clarke’s great artistic reputation.

(Pictured: “Self-portrait,” 1914, by Margaret Clarke, © Artist’s Estate)


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Birth of Patrick Hennessy, Irish Realist Painter

Patrick Anthony Hennessy RHA, Irish realist painter known for his highly finished still lifes, landscapes and trompe-l’œil paintings, is born in Cork, County Cork, on August 28, 1915. The hallmark of his style is his carefully observed realism and his highly finished surfaces, the result of a virtuoso painting technique.

Hennessy is the son of John Hennessy an army sergeant major from County Kerry and Bridget Hennessy from Cork. His father is killed in World War I at the Battle of Passchendaele in 1917. In 1921, when he is five years old, his mother remarries in Cork. Her second husband is a Scot named John Duncan and shortly afterwards the whole family moves to Arbroath, Scotland, where Duncan has relatives.

Hennessy is educated in Arbroath at St. Thomas RC Primary School followed by secondary education at Arbroath High School, where he begins to show an aptitude for art, leaving in 1933 with the Dux for Art and an accompanying medal. In the autumn of 1933 he enrolls at the Dundee of Jordanstone College of Art & Design, for a four-year Diploma course in Drawing and Painting under James McIntosh Patrick and Edward Baird. Here he meets Harry Robertson Craig who becomes his lifelong companion. He plays a full part in the social activities of the college, winning a fancy-dress award at the Christmas revels in 1935 and producing a ballet “Paradise Lost” the following year. He gains a First-Class Pass in each year of the course along with winning first prize in 1934 and 1936 for work done during the summer vacation. He graduates with a First-Class Distinction in 1937.

Having gained a scholarship, Hennessy continues his studies at the Dundee of Jordanstone College of Art & Design for a further year by doing a Post-Graduate Diploma course in Drawing and Painting. Within a month of gaining his Post-Graduate Diploma he holds his first joint exhibition at the Art Galleries in Arbroath. In June 1938 he is awarded the Annual Travelling Scholarship for further studies in Paris and Italy. In Paris he meets up with the artists Robert Colquhoun and Robert MacBryde, whom he had met the previous year, the three travelling south together to Marseilles towards the end of that year. On his return to Scotland he is selected for the residential summer school course at Hospitalfield House near Arbroath under James Cowie. Two of his paintings, a still life and a self-portrait, are accepted that year by the Royal Scottish Academy for their Annual Exhibition. However, by the autumn of 1939 with war looming and feeling somewhat disenchanted on his return to Scotland, he decides to return to Ireland.

On arrival in Dublin Hennessy is offered an exhibition in December 1939 at the Country Shop on St. Stephen’s Green which is opened by Mainie Jellett. This attracts favourable attention. During the early 1940s he lives at various addresses in and around Dublin with frequent trips to Cork. In 1940 he is invited to join the Society of Dublin Painters and holds regular annual exhibitions of his work there during the 1940s and early 1950s. These exhibitions are supplemented by an eclectic mix of commissions, mostly portraits which he undertakes during this period. In 1941 he has three of his paintings accepted by the Royal Hibernian Academy (RHA) for their annual exhibition. This is the beginning of a long relationship with the RHA. He exhibits there virtually every year from 1941 until 1979, the year before his death.

From the early 1940s onwards, Hennessey’s work sometimes incorporates a homosexual visual subtext. He re-unites with Harry Robertson Craig in 1946 and soon after they move to Crosshaven, County Cork, and later to Cobh. In 1947, Time magazine selects him as one of Ireland’s outstanding painters, in recognition of the important position he has then attained in the art world. In 1948 he has an exhibition at the Victor Waddington Gallery, Dublin, and that same year is elected an associate of the Royal Hibernian Academy and a full member the following year. In 1950 his painting De Profundis is selected for the Contemporary Irish Painting exhibition that tours North America. As a result of this tour, the American public and critics begin to take notice of his work. In 1951 he visits Italy, taking in Venice and Sicily and returning to Dublin with many of his canvases painted abroad. One of these paintings, Bronze Horses of St. Marks, is exhibited at the Royal Academy of Arts in London in 1954.

In 1956, a friend of Hennessy, David Hendriks, opens the Ritchie Hendriks Gallery on St. Stephen’s Green, Dublin and it is this gallery that is to be the main outlet for his work over the following 22 years. In October 1956 the Thomas Agnew Gallery in London holds an exhibition of his work comprising 38 of his paintings. However, during the winter of 1959 he becomes seriously ill with pneumonia. As a consequence of this, in the autumn of that year he and Craig decide to winter in Morocco. This is the beginning of a new era in both their lives. They would never again spend a full year in Ireland. His exhibitions at the Ritchie Hendriks Gallery had for many years enjoyed favourable reviews from the art critics but in the 1960s this changes with critics claiming his paintings to be dull, repetitive and suggest he needs to explore new areas. Despite the barrage of criticism, in 1965 the Guildhall Gallery in Chicago offers him a major exhibition. Shortly after this exhibition takes place in 1966, he becomes one of the artists on permanent display at the gallery with an annual exhibition. The North American market is extremely lucrative for him and by the end of the decade he is selling more of his work in the United States than in Ireland. In 1968 he finally moves to Tangier, Morocco on a permanent basis and in 1970 sells his studio on Raglan Lane, Dublin.

In Morocco, Hennessy paints prolifically for nine years to keep up with demand from the Hendriks Gallery and Guildhall Gallery along with the RHA. In 1975 the Guildhall Gallery mounts a highly successful Retrospective of his work. In 1978 he has his last exhibition in Dublin at the Hendriks Gallery. By this time he has moved to the Algarve, Portugal and is beginning to have health problems.

In November 1980, with his health deteriorating, Craig brings Hennessy to a hospital in London for treatment. However, on December 30, 1980 he dies from cancer. Following cremation his ashes are buried in nearby Golders Green Crematorium. He leaves his entire estate to Harry Robertson Craig with the proviso that on Craig’s death the Royal Hibernian Academy should be the beneficiary. This legacy has been used to set up the annual Hennessy Craig Scholarship for aspiring artists.

Hennessy falls into the category of painter who develops a distinctive personal style, labelled at various times in his life as a Traditional Realist, Romantic, Photo Realist, Illusionary and Surrealist. However, he always remains intrinsically himself. His subjects range from still life and interiors to landscapes and portraits.

Examples of Hennessy’s work can be found in the public collections of the Crawford Art Gallery, the Dublin City Gallery The Hugh Lane, the Irish Museum of Modern Art (IMMA), the Limerick City Gallery of Art (LCGA), the National Gallery of Ireland (NGI), the National Self-Portrait Collection of Ireland (NSPCI) at the University of Limerick (UL), and in the collections of University College Cork (UCC) and University College Dublin (UCD).


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Birth of Thomas Addis Emmet, Lawyer, Politician & Revolutionary

Thomas Addis Emmet, Irish and American lawyer and politician, is born in the Hammond’s Marsh area of Cork, County Cork, on April 24, 1764. He is a senior member of the revolutionary republican group Society of United Irishmen in the 1790s and Attorney General of New York 1812–1813.

Emmet is a son of Dr. Robert Emmet from County Tipperary (later to become State Physician of Ireland) and Elizabeth Mason of County Kerry, both of whose portraits are today displayed at Cork’s Crawford Art Gallery. He is the elder brother of Robert Emmet, who is executed for leading the Irish Rebellion of 1803, becoming one of Ireland’s most famous republican martyrs. His sister, Mary Anne Holmes, holds similar political beliefs.

Emmet is educated at Trinity College, Dublin and is a member of the committee of the College Historical Society. He later studies medicine at the University of Edinburgh and is a pupil of Dugald Stewart in philosophy. After visiting the chief medical schools on the continent, he returns to Ireland in 1788. However, the sudden death of his elder brother, Christopher Temple Emmet (1761–1788), a student of great distinction, induces him to follow the advice of Sir James Mackintosh to forsake medicine for the law as a profession.

Emmet is a man of liberal political sympathies and becomes involved with a campaign to extend the democratic franchise for the Irish Parliament and to end discrimination against Catholics. He is called to the Irish bar in 1790 and quickly obtains a practice, principally as counsel for prisoners charged with political offenses. He also becomes the legal adviser of the Society of the United Irishmen.

When the Dublin Corporation issues a declaration of support of the Protestant Ascendancy in 1792, the response of the United Irishmen is their nonsectarian manifesto which is largely drawn up by Emmet. In 1795 he formally takes the oath of the United Irishmen, becoming secretary in the same year and a member of the executive in 1797. As by this time the United Irishmen had been declared illegal and driven underground, any efforts at peaceful reform of government and Catholic emancipation in Ireland are abandoned as futile, and their goal is now the creation of a non-sectarian Irish republic, independent from Britain and to be achieved by armed rebellion. Although Emmet supports this policy, he believes that the rebellion should not commence until French aid has arrived, differing from more radical members such as Lord Edward FitzGerald.

British intelligence infiltrates the United Irishmen and manages to arrest most of their leaders on the eve of the rebellion. Though not among those taken at the house of Oliver Bond on March 12, 1798, Emmet is arrested about the same time and is one of the leaders imprisoned initially at Kilmainham Gaol and later in Scotland at Fort George until 1802. Upon his release he goes to Brussels where he is visited by his brother Robert in October 1802 and is informed of the preparations for a fresh rising in Ireland in conjunction with French aid. However, at that stage France and Britain are briefly at peace, and the Emmets’ pleas for help are turned down by Napoleon.

Emmet receives news of the failure of his brother’s rising in July 1803 in Paris, where he is in communication with Napoleon Bonaparte. He then emigrates to the United States and joins the New York bar where he obtains a lucrative practice.

After the death of Matthias B. Hildreth, Emmet is appointed New York State Attorney General in August 1812 but is removed from office in February 1813 when the opposing Federalist Party obtains a majority in the Council of Appointment.

Emmet’s abilities and successes become so acclaimed, and his services so requested that he becomes one of the most respected attorneys in the nation, with United States Supreme Court Justice Joseph Story declaring him to be “the favourite counsellor of New York.” He argues the case for Aaron Ogden in the landmark United States Supreme Court case of Gibbons v. Ogden, 22 U.S. 1 (1824) relating to the Commerce and Supremacy clauses of the United States Constitution.

Emmet dies on November 14, 1827, while conducting a case in court regarding the estate of Robert Richard Randall, the founder of Sailors’ Snug Harbor, a home for needy seamen in Staten Island, New York. He is buried in St. Mark’s Church in-the-Bowery churchyard in the East Village, New York City, where a large white marble monument marks his grave.


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Birth of Rosaleen Brigid Ganly, Painter & Sculptor

Brigid Ganly HRHA, Irish painter and sculptor, is born Rosaleen Brigid O’Brien on January 29, 1909, in Dublin.

Ganly is one of five children born to Dermod O’Brien, a painter, and his wife Mabel Smiley. Her great-grandfather is the Irish Republican William Smith O’Brien. She grows up on a farm in Cahirmoyle, County Limerick, until the family moves to Fitzwilliam Square in Dublin. She goes on to attend the Metropolitan School of Art where she has the opportunity to study under Patrick Tuohy, Seán Keating and Oliver Sheppard. She is a talented sculptor and wins several awards, including the Taylor scholarship in 1929, for her allegorical male nude, Pity. She spends time in Paris in 1951 where she trains with André Lhote. She travels to Greece where Lhote continues to influence her work.

Ganly also studies painting in the Royal Hibernian Academy School where she has Margaret Clarke and Seán O’Sullivan as teachers. She is made an associate of the Royal Hibernian Academy (RHA) in 1928 and becomes a member in 1935 though, in 1969, resigns her membership in protest of the lack of young artists being given the opportunity to exhibit. In 1972 she is made an honorary member and returns.

Ganly is a representational artist and while known as a portrait artist, she also paints landscapes, interiors and may be best known for her still lifes. Some of her best works are portraits of her husband, her sister Ethel, her father, and her friend Sheila Pim. She illustrates the book-jackets of Sheila Pim’s works. She has many exhibitions, with the RHA and the Water Colour Society of Ireland. There is a retrospective of her life in 1998 at the Hugh Lane Gallery and her works are in the collections there. She is also in the collections of the Waterford Municipal Gallery, Crawford Art Gallery, Cork and in The National Self-Portrait Collection of Ireland. She is part of the 2014 exhibition ‘Irish Women Artists: 1870-1970.’

Ganly’s sister-in-law is Kitty Wilmer O’Brien with whom she often exhibits. She marries Andrew Ganly, a dental surgeon and writer with a strong involvement in theatre, in 1936. He dies in 1982. They have two children, Eoghan and Phillida.

Brigid Ganly dies on March 25,2002.

(Pictured: “Storm Over Poros” (1964) by Rosaleen Brigid Ganly, HRHA)


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Death of Patrick Hennessy, Irish Realist Painter

Patrick Anthony Hennessy RHA, Irish realist painter known for his highly finished still lifes, landscapes and trompe-l’œil paintings, dies in London on December 30, 1980. The hallmark of his style is his carefully observed realism and his highly finished surfaces, the result of a virtuoso painting technique.

Hennessy is born in Cork, County Cork, on August 28, 1915. The son of John Hennessy an army sergeant major from County Kerry and Bridget Hennessy from Cork. His father is killed in World War I at the Battle of Passchendaele in 1917. In 1921, when he is five years old, his mother remarries in Cork. Her second husband is a Scot named John Duncan and shortly afterwards the whole family moves to Arbroath, Scotland, where Duncan has relatives.

Hennessy is educated in Arbroath at St. Thomas RC Primary School followed by secondary education at Arbroath High School, where he begins to show an aptitude for art, leaving in 1933 with the Dux for Art and an accompanying medal. In the autumn of 1933 he enrolls at the Dundee of Jordanstone College of Art & Design, for a four-year Diploma course in Drawing and Painting under James McIntosh Patrick and Edward Baird. Here he meets Harry Robertson Craig who becomes his lifelong companion. He plays a full part in the social activities of the college, winning a fancy dress award at the Christmas revels in 1935 and producing a ballet “Paradise Lost” the following year. He gains a First Class Pass in each year of the course along with winning first prize in 1934 and 1936 for work done during the summer vacation. He graduates with a First Class Distinction in 1937.

Having gained a scholarship, Hennessy continues his studies at the Dundee of Jordanstone College of Art & Design for a further year by doing a Post-Graduate Diploma course in Drawing and Painting. Within a month of gaining his Post-Graduate Diploma he holds his first joint exhibition at the Art Galleries in Arbroath. In June 1938 he is awarded the Annual Travelling Scholarship for further studies in Paris and Italy. In Paris he meets up with the artists Robert Colquhoun and Robert MacBryde, whom he had met the previous year, the three travelling south together to Marseilles towards the end of that year. On his return to Scotland he is selected for the residential summer school course at Hospitalfield House near Arbroath under James Cowie. Two of his paintings, a still life and a self-portrait, are accepted that year by the Royal Scottish Academy for their Annual Exhibition. However, by the autumn of 1939 with war looming and feeling somewhat disenchanted on his return to Scotland, he decides to return to Ireland.

On arrival in Dublin Hennessy is offered an exhibition in December 1939 at the Country Shop on St. Stephen’s Green which is opened by Mainie Jellett. This attracts favourable attention. During the early 1940s he lives at various addresses in and around Dublin with frequent trips to Cork. In 1940 he is invited to join the Society of Dublin Painters and holds regular annual exhibitions of his work there during the 1940s and early 1950s. These exhibitions are supplemented by an eclectic mix of commissions, mostly portraits which he undertakes during this period. In 1941 he has three of his paintings accepted by the Royal Hibernian Academy (RHA) for their annual exhibition. This is the beginning of a long relationship with the RHA. He exhibits there virtually every year from 1941 until 1979, the year before his death.

From the early 1940s onwards, Hennessey’s work sometimes incorporates a homosexual visual subtext. He re-unites with Harry Robertson Craig in 1946 and soon after they move to Crosshaven, County Cork, and later to Cobh. In 1947, Time magazine selects him as one of Ireland’s outstanding painters, in recognition of the important position he has then attained in the art world. In 1948 he has an exhibition at the Victor Waddington Gallery, Dublin, and that same year is elected an associate of the Royal Hibernian Academy and a full member the following year. In 1950 his painting De Profundis is selected for the Contemporary Irish Painting exhibition that tours North America. As a result of this tour, the American public and critics begin to take notice of his work. In 1951 he visits Italy, taking in Venice and Sicily and returning to Dublin with many of his canvases painted abroad. One of these paintings, Bronze Horses of St. Marks, is exhibited at the Royal Academy of Arts in London in 1954.

In 1956, a friend of Hennessy, David Hendriks, opens the Ritchie Hendriks Gallery on St. Stephen’s Green, Dublin and it is this gallery that is to be the main outlet for his work over the following 22 years. In October 1956 the Thomas Agnew Gallery in London holds an exhibition of his work comprising 38 of his paintings. However, during the winter of 1959 he becomes seriously ill with pneumonia. As a consequence of this, in the autumn of that year he and Craig decide to winter in Morocco. This is the beginning of a new era in both their lives. They would never again spend a full year in Ireland. His exhibitions at the Ritchie Hendriks Gallery had for many years enjoyed favourable reviews from the art critics but in the 1960s this changes with critics claiming his paintings to be dull, repetitive and suggest he needs to explore new areas. Despite the barrage of criticism, in 1965 the Guildhall Gallery in Chicago offers him a major exhibition. Shortly after this exhibition takes place in 1966 he becomes one of the artists on permanent display at the gallery with an annual exhibition. The North American market is extremely lucrative for him and by the end of the decade he is selling more of his work in the United States than in Ireland. In 1968 he finally moves to Tangier, Morocco on a permanent basis and in 1970 sells his studio on Raglan Lane, Dublin.

In Morocco, Hennessy paints prolifically for nine years to keep up with demand from the Hendriks Gallery and Guildhall Gallery along with the RHA. In 1975 the Guildhall Gallery mounts a highly successful Retrospective of his work. In 1978 he has his last exhibition in Dublin at the Hendriks Gallery. By this time he has moved to the Algarve, Portugal and is beginning to have health problems.

In November 1980, with his health deteriorating, Craig brings Hennessy to a hospital in London for treatment. However, on December 30, 1980 he dies from cancer. Following cremation his ashes are buried in nearby Golders Green Crematorium. He leaves his entire estate to Harry Robertson Craig with the proviso that on Craig’s death the Royal Hibernian Academy should be the beneficiary. This legacy has been used to set up the annual Hennessy Craig Scholarship for aspiring artists.

Hennessy falls into the category of painter who develops a distinctive personal style, labelled at various times in his life as a Traditional Realist, Romantic, Photo Realist, Illusionary and Surrealist. However, he always remains intrinsically himself. His subjects range from still life and interiors to landscapes and portraits.

Examples of Hennessy’s work can be found in the public collections of the Crawford Art Gallery, the Dublin City Gallery The Hugh Lane, the Irish Museum of Modern Art (IMMA), the Limerick City Gallery of Art (LCGA), the National Gallery of Ireland (NGI), the National Self-Portrait Collection of Ireland (NSPCI) at the University of Limerick (UL), and in the collections of University College Cork (UCC) and University College Dublin (UCD).