Patrick Scott, Irish artist, is born in Kilbrittain, County Cork, on January 24, 1921. He is perhaps best known for his gold paintings, abstracts incorporating geometrical forms in gold leaf against a pale tempura background. He also produces tapestries and carpets.
He has his first exhibition in 1944, but trains as an architect and does not become a full-time artist until 1960. He works for fifteen years for the Irish architect Michael Scott, assisting, for example, in the design of Busáras, the central bus station in Dublin. He is also responsible for the orange livery of Irish intercity trains.
His paintings are in several important collections including the Museum of Modern Art in New York City. He wins the Guggenheim Award in 1960 and represents Ireland in the 1960 Venice Biennale. The Douglas Hyde Gallery holds a major retrospective of his work in 1981 and the Hugh Lane Gallery in Dublin holds a major survey in 2002. His works are distinguished by their purity and sense of calm, reflecting his own interest in Zen Buddhism.
In October 2013, Scott weds his companion of 30 years, Eric Pearce, in a civil ceremony at the Dublin Registry Office.
On July 11, 2007, Scott, who is a founding member of Aosdána, is conferred with the title of Saoi, the highest honour that can be bestowed upon an Irish artist. The President of Ireland, Mary McAleese, makes the presentation, placing a gold torc, the symbol of the office of Saoi, around his neck. No more than seven living members may hold this honour at any one time.
Patrick Scott dies in Ballsbridge, Dublin, on February 14, 2014 at the age of 93. He is survived by his partner.
Eleanor McEvoy, one of Ireland’s most accomplished contemporary singer/songwriters, is born in Dublin on January 22, 1967. McEvoy composes the song “Only A Woman’s Heart,” the title track of A Woman’s Heart, the best-selling Irish album in Irish history.
McEvoy’s life as a musician begins at the age of four when she begins playing piano. At the age of eight she takes up violin and, as a teen, she joins the Junior Irish Youth Orchestra. Upon finishing school, she attends Trinity College, Dublin where she studies music by day and works in pit orchestras and music clubs by night.
McEvoy graduates from Trinity with an Honors Degree in music and spends four months busking in New York City. In 1988, she is accepted into the RTÉ National Symphony Orchestra where she spends four years before leaving to concentrate on songwriting.
During a solo date in July 1992, she performs a little-known, self-penned song, “Only a Woman’s Heart.” Mary Black, of whose band McEvoy is a member, is in the audience and invites her to add the track to an album of Irish female artists. The album is subsequently titled A Woman’s Heart and the track is released as the lead single. The album goes on to sell over three-quarters of a million copies in Ireland alone and remains the biggest selling Irish album of all time. The record’s success makes McEvoy a superstar virtually overnight.
Eleanor McEvoy, the self-titled debut offering, recorded in Windmill Lane Studios, is released in February 1993, and tours in the United States, Asia, and Europe follow. Back on Irish soil, McEvoy is awarded Best New Artist, Best New Performer, and Best Songwriter Awards by the Irish entertainment and music industries.
McEvoy signs a contract with Columbia Records and begins working on a new, edgier second album, which is eventually entitled What’s Following Me? The album is released in 1996 and the sound is louder and grungier than her debut.
McEvoy releases her third album Snapshots in 1999. Her primary goal is to make Snapshots her most song-oriented album to date. Toward that goal, she hooks up with legendary producer Rupert Hine, who has worked with Stevie Nicks, Tina Turner, Suzanne Vega, and Duncan Sheik, and records the album at Rupert’s “Chateau de la Tour de Moulin” and then in Metropolis Studios in London.
As the century closes, McEvoy has had enough of major-label involvement, making the decision to take the fourth album and head down the independent road. Yola was a turning point in McEvoy’s musical direction. Released in 2001, it reflects the acoustic, jazz-influenced style she had developed on stage with Brian Connor.
March 2004 sees the release of Early Hours, produced by McEvoy and Brian Connor. The style differs from McEvoy’s previous work, taking on a jazz/blues feel for many of the songs. She continues to tour with Brian Connor until April 2005. She then begins performing solo, accompanying herself on bass guitar, electric guitar, mandolin, and violin.
Naked Music (2016) is McEvoy’s twelfth studio album. It is recorded at the Grange Studio in Norfolk, UK. McEvoy records the tracks by “studio-performing,” in other words, playing the songs as she would in a live performance. The album features exclusive artwork by famed painter Chris Gollon.
James (Jim) Larkin, Irish trade union leader and socialist activist, is born to Irish parents in Liverpool, England, on January 21, 1876. He and his family later move to a small cottage in Burren, County Down. Growing up in poverty, he receives little formal education and begins working in a variety of jobs while still a child.
In 1905, Larkin is one of the few foremen to take part in a strike on the Liverpool docks. He is elected to the strike committee, and although he loses his foreman’s job as a result, his performance so impresses the National Union of Dock Labourers (NUDL) that he is appointed a temporary organiser.
Larkin moves to Belfast in 1907 to organise the city’s dock workers for the NUDL. He succeeds in unionising the workforce, and as employers refuse to meet the wage demands, he calls the dockers out on strike in June. Carters and coal men soon join in, the latter settling their dispute after a month.
In 1908, Larkin moves south and organises workers in Dublin, Cork, and Waterford, with considerable success. His involvement, against union instructions, in a dispute in Dublin results in his expulsion from the NUDL. The union later prosecutes him for diverting union funds to give strike pay to Cork workers engaged in an unofficial dispute. After trial and conviction for embezzlement in 1910, he is sentenced to prison for a year. This is widely regarded as unjust, and the Lord Lieutenant of Ireland, Lord Aberdeen, pardons him after he has served three months in prison.
After his expulsion from the NUDL, Larkin founds the Irish Transport and General Workers’ Union (ITGWU) at the end of December 1908. The organisation exists today as the Services Industrial Professional & Technical Union (SIPTU). In early 1909, Larkin moves to Dublin, which becomes the main base of the ITGWU and the focus of all his future union activity in Ireland.
In early 1913, Larkin achieves some successes in industrial disputes in Dublin. Two major employers, Guinness and the Dublin United Tramway Company, are the main targets of Larkin’s organising ambitions. The chairman of the Dublin United Tramway Company, industrialist and newspaper proprietor William Martin Murphy, is determined not to allow the ITGWU to unionise his workforce. On August 15, he dismisses 40 workers he suspects of ITGWU membership, followed by another 300 over the next week. On August 26, 1913, the tramway workers officially go on strike.
The resulting industrial dispute is the most severe in Ireland’s history. Employers in Dublin engage in a sympathetic lockout of their workers when the latter refuses to sign the pledge, employing blackleg labour from Britain and from elsewhere in Ireland. Guinness, the largest employer in Dublin, refuses the employers’ call to lock out its workers but it sacks 15 workers who struck in sympathy.
For seven months the lockout affects tens of thousands of Dublin workers and employers, with Larkin portrayed as the villain by Murphy’s three main newspapers, the Irish Independent, the Sunday Independent, and the Evening Herald, and by other bourgeois publications in Ireland. The lock-out eventually concludes in early 1914 when calls by James Connolly and Larkin for a sympathetic strike in Britain are rejected by the British Trades Union Congress (TUC). Larkin’s attacks on the TUC leadership for this stance also lead to the cessation of financial aid to the ITGWU.
Some months after the lockout ends, Larkin leaves for the United States. He intends to recuperate from the strain of the lockout and raise funds for the union. Once there he becomes a member of the Socialist Party of America and is involved in the Industrial Workers of the World union (the Wobblies). He becomes an enthusiastic supporter of the Soviet Union and is expelled from the Socialist Party of America in 1919 along with numerous other sympathisers of the Bolsheviks during the Red Scare of that year.
Upon his return to Ireland in April 1923, Larkin receives a hero’s welcome and immediately sets about touring the country meeting trade union members and appealing for an end to the Irish Civil War. In September 1923, Larkin forms the Irish Worker League (IWL), which is soon afterwards recognised by the Communist International as the Irish section of the world communist movement.
James Larkin dies in his sleep on January 30, 1947, in the Meath Hospital. Fr. Aloysius Travers, OFM, who had administered last rites to James Connolly in 1916, also administers extreme unction to Larkin. His funeral mass is celebrated by the Catholic Archbishop of Dublin, John Charles McQuaid, who had visited him in hospital before he died, and thousands line the streets of the city as the hearse passes through on the way to Glasnevin Cemetery.
Christopher Nolan, Irish poet and author who cannot move or speak because of an accident at birth, wins the Whitbread Book Award on January 19, 1987, for his autobiography Under the Eye of the Clock.
Nolan is born in Mullingar, County Westmeath, on September 6, 1965, the son of Joseph and Bernadette Nolan. Due to asphyxiation at birth, he is born with permanent impairment of his “nerve-signaling system, a condition he said is now labelled dystonia.” Because of these complications, he is born with cerebral palsy and can only move his head and eyes. To write, Nolan uses a special computer and keyboard. In order to help him type, his mother holds his head in her cupped hands while he painstakingly picks out each word, letter by letter, with a pointer attached to his forehead.
Upon becoming a teenager, Nolan receives his education from the Central Remedial Clinic school, Mount Temple Comprehensive School, and at Trinity College, Dublin. His first book is published when he is fifteen. He is also awarded an Honorary Doctorate of Letters in the UK, the medal of excellence from the United Nations Society of Writers, and a Person of the Year award in Ireland. At the age of fifteen, he publishes his collection of poems titled Dam-Burst of Dreams. He writes an account of his childhood, Under the Eye of the Clock, published by St. Martin’s Press, which wins him the UK’s Whitbread Book Award in 1987 at the age of 21. He soon drops out of Trinity College to write a novel entitled The Banyan Tree (1999).
Nolan spends more than a decade writing The Banyan Tree. According to The New York Times, the book is a multigenerational story of a dairy-farming family in Nolan’s native county of Westmeath. The story is seen through the eyes of the aging mother. It is inspired, he tells Publishers Weekly, by the image of “an old woman holding up her skirts as she made ready to jump a rut in a field.” A review of the book is done in The New York Times by Meghan O’Rourke. She reviews the book and relates it to James Joyce‘s A Portrait of the Artist as a Young Man; in the story the protagonist leaves his mother in Ireland while he moves on to travel the world. Nolan, however, gives the reader a version of the mother’s story. “And so, in the end, one suspects that he wants Minnie’s good-natured, commonplace ways to stand as their own achievement, reminding us that life continues in the places left behind.”
Christopher Nolan dies at age 43 in Beaumont Hospital in Dublin at 2:30 AM on February 20, 2009, after a piece of salmon becomes trapped in his airway. Irish president Mary McAleese, upon hearing the news, says, “Christopher Nolan was a gifted writer who attained deserved success and acclaim throughout the world for his work, his achievements all the more remarkable given his daily battle with cerebral palsy.”
Edmund Burke, one of the greatest political writers and orators in history, is born in Arran Quay, Dublin, on January 12, 1729. British statesman, parliamentary orator, and political thinker, he plays a prominent part in all major political issues for about thirty years after 1765 and remains an important figure in the history of political theory.
His political career begins in 1765 when he becomes the private secretary of one of the Whig leaders in the Parliament of Great Britain, Charles Watson-Wentworth, 2nd Marquess of Rockingham. Burke soon proves to be one of the main characters in the constitutional controversy in Britain under George III, who at the time is trying to establish more actual power for the crown. Although the crown has lost some influence under the first two Georges, one of the major political problems in 18th century Britain is the fact that both the king and Parliament have considerable control over the executive. Burke responds to these affairs in his pamphlet Thoughts on the Cause of the Present Discontents (1770), in which he argues that although George’s actions are legal in the sense that they are not against the letter of the constitution, they are all the more against it in spirit. In the pamphlet Burke elaborates on his famous and new justification of a party, defined as “a body of men united on public principle, which could act as a constitutional link between king and parliament, providing consistency and strength in administration, or principled criticism in opposition.”
Concerning the imperial controversy at the time, Burke argues that the British government has acted in a both unwise and inconsistent manner. Again, Burke claims that Britain’s way of dealing with the colony question is strictly legal and he urges that also “claims of circumstance, utility, and moral principle should be considered, as well as precedent.” In other words, if the British, persistently clinging to their narrow legalism, are not to clash with the ideas and opinions of the colonists on these matters, they will have to offer more respect and regard for the colonies’ cause. Burke calls for “legislative reason” in two of his parliamentary speeches on the subject, On American Taxation (1774) and On Moving His Resolutions for Conciliation with America (1775). However, British imperial policy in the controversy continues to ignore these questions.
Burke’s view of the revolution in France is a much different story. He publishes Reflections on the Revolution in France in 1790, attacking the revolution’s motives and principles. Many writers oppose his views, the most famous being Thomas Paine in his Rights of Man. Burke is a consistent advocate of Catholic emancipation, which politically damages him, but he is never an advocate of self-rule for the Irish.
Edmund Burke dies in London on July 9, 1797. Many quotes from his writings and orations have come down through the years, perhaps one is most applicable to the situation in Ireland today: “All government, indeed every human benefit and enjoyment, every virtue, and every prudent act, is founded on compromise and barter.”
George Sigerson, Irish physician, scientist, writer, politician, and poet, is born at Holy Hill, near Strabane in County Tyrone on January 11, 1836. He is a leading light in the Irish Literary Revival of the late 19th century in Ireland.
Sigerson is the son of William and Nancy (née Neilson) Sigerson and has three brothers, James, John and William, and three sisters, Ellen, Jane, and Mary Ann. He attends Letterkenny Academy but is sent by his father, who developed the spade mill and who played an active role in the development of Artigarvan, to complete his education in France.
His first book, The Poets and Poetry of Munster, appears in 1860. He is actively involved in political journalism for many years, writing for The Nation. Sigerson and his wife Hester are by now among the dominant figures of the Gaelic Revival. They frequently hold Sunday evening salons at their Dublin home to which artists, intellectuals, and rebels alike attend, including John O’Leary, W.B. Yeats, Patrick Pearse, Roger Casement, and 1916 signatory Thomas MacDonagh. Sigerson is a co-founder of the Feis Ceoil and President of the National Literary Society from 1893 until his death. His daughter, Dora, is a poet who is also involved in the Irish literary revival.
Nominated to the first Seanad Éireann of the Irish Free State, Sigerson briefly serves as the first chairman on December 11-12, 1922, before the election of James Campbell, 1st Baron Glenavy. Sigerson dies at his home at 3 Clare Street, Dublin, on February 17, 1925, at the age of 89, after a short illness. On February 18, 1925, the day after his death, the Seanad Éireann pays tribute to him.
The Sigerson Cup, the top division of third level Gaelic football competition in Ireland is named in his honour. Sigerson donates the salary from his post at UCD so that a trophy can be purchased for the competition. In 2009, he is named in the Sunday Tribune‘s list of the “125 Most Influential People In GAA History.” The cup is first presented in 1911, with the inaugural winners being UCD GAA.
Sir John Lavery, Irish painter best known for his portraits and wartime depictions, dies of natural causes at the age of 84 in Kilmoganny, County Kilkenny, on January 10, 1941.
Like William Orpen, Lavery is appointed an official artist in World War I. Ill-health, however, prevents him from travelling to the Western Front. A serious car crash during a Zeppelin bombing raid also keeps him from fulfilling this role as war artist. He remains in Britain and mostly paints boats, aeroplanes, and airships. During the war years he is a close friend of H.H. Asquith‘s family and spends time with them at their Sutton Courtenay Thames-side residence, painting their portraits and idyllic pictures like Summer on the River (Hugh Lane Gallery).
After the war Lavery is knighted and in 1921 he is elected to the Royal Academy of Arts.
During this time, he and his wife, Hazel, are tangentially involved in the Irish War of Independence and the Irish Civil War. They give the use of their London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty. After Michael Collins is assassinated, Lavery paints Michael Collins, Love of Ireland, now in the Hugh Lane Gallery. In 1929, Lavery makes substantial donations of his work to both the Ulster Museum and the Hugh Lane Gallery and in the 1930s he returns to Ireland. He receives honorary degrees from the University of Dublin and Queen’s University Belfast. He is also made a free man of both Dublin and Belfast. A long-standing member of Glasgow Art Club, Lavery exhibits at the club’s annual exhibitions, including its exhibition in 1939 in which his The Lake at Ranelagh is included.
Dáil Éireann votes to approve the Anglo-Irish Treaty on January 7, 1922, following a debate through late December 1921 and into January 1922. The vote is 64 in favour, 57 against, with the Ceann Comhairle and three others not voting. The Sinn Féin party splits into opposing sides in the aftermath of the Treaty vote, which leads to the Irish Civil War from June 1922 until May 1923. The treaty is signed in London on December 6, 1921.
Two elections take place in Ireland in 1921, as a result of the Government of Ireland Act 1920 to establish the House of Commons of Northern Ireland and the House of Commons of Southern Ireland. The election is used by the Irish Republic as the basis of membership of the Second Dáil. The general election to the Northern Ireland House of Commons occurs on May 24, 1921. Of 52 seats, forty are won by unionists, six by moderate Irish nationalists, and six by Sinn Féin. No actual polling takes place in the Southern Ireland constituencies, as all 128 candidates are returned unopposed. Given the backdrop of the increasingly violent War of Independence, any candidates opposed to Sinn Féin, and their supporters can expect to be harassed by the Irish Republican Army (IRA). Supporters of the Irish Labour Party stand aside to allow the constitutional situation to run its course. Of these 128, 124 are won by Sinn Féin, and four by independent unionists representing the University of Dublin constituency. Only the Sinn Féin candidates recognise the Second Dáil and five of these have been elected in two constituencies, one in each part of Ireland, so the total number of members who assemble in the Second Dáil is 125.
During the Second Dáil, the government of the Irish Republic and the British government of David Lloyd George agree to hold peace negotiations. On September 14, 1921, the Dáil ratifies the appointment of Arthur Griffith, Michael Collins, Robert Barton, Eamonn Duggan, and George Gavan Duffy as envoys plenipotentiary for the peace conference in England. These envoys eventually sign the Anglo-Irish Treaty on December 6. After almost a month of acrimonious debate the treaty is formally ratified by Dáil Éireann on January 7, 1922.
To satisfy the requirements of the British constitution, the treaty also has to be ratified by the House of Commons of Southern Ireland. Thus, Irish nationalists end their boycott of the home rule parliament to attend the southern House of Commons as MPs. This they do alongside the four Unionist MPs who had refused to recognise the Dáil. In this way the treaty is ratified a second time in Dublin, this time unanimously as the anti-Treaty TDs refuse to attend.
Under the terms of the Anglo-Irish Treaty a provisional parliament, considered by nationalists to be the Third Dáil, is elected in the 1922 general election on June 16. Collins and Éamon de Valera agree a pact between the pro- and anti-Treaty wings of Sinn Féin, and this pact and the elections are endorsed by the Second Dáil. The new assembly is recognised both by nationalists and the British Government and so replaces both the Parliament of Southern Ireland and the Second Dáil with a single body. The anti-Treaty groups of IRA members, TDs, and their supporters are still bitterly opposed the settlement, despite the election result, and this leads to the Irish Civil War.
(Pictured: Second All-Ireland Dáil Éireann, elected in 1921)
Anna Maria Hall (nee Fielding), Irish novelist who often publishes as “Mrs. S. C. Hall,” is born in Dublin on January 6, 1800. She lives with her mother, a widow named Sarah Elizabeth Fielding, and stepfather, George Carr of Graigie, Wexford, until 1815. She goes to England with her mother in 1815, and on September 20, 1824, marries Samuel Carter Hall. Her mother lives with her in London until she dies.
Hall’s first recorded contribution to literature is an Irish sketch called “Master Ben,” which appears in The Spirit and Manners of the Age, January 1829. Other tales follow. Eventually they are collected into a volume entitled Sketches of Irish Character (1829), and henceforth she becomes “an author by profession.” The following year she issues a little volume for children, Chronicles of a School-Room, consisting of a series of simple tales.
In 1831, she publishes a second series of Sketches of Irish Character fully equal to the first, which is well received. The first of her nine novels, The Buccaneer (1832), is a story of the time of The Protectorate, and Oliver Cromwell is among the characters. To The New Monthly Magazine, which her husband is editing, she contributes Lights and Shadows of Irish Life, articles which are republished in three volumes in 1838. The principal tale in this collection, “The Groves of Blarney,” is dramatised with considerable success by the author with the object of supplying a character for Tyrone Power and runs for a whole season at the Adelphi Theatre in 1838. Hall also writes “The French Refugee,” produced at the St. James’s Theatre in 1836, where it runs ninety nights, and for the same theatre Mabel’s Curse, in which John Pritt Harley sustains the leading part.
Another of her dramas, of which she has neglected to keep a copy, is Who’s Who? which is in the possession of Tyrone Power when he is lost in the President in April 1841. In 1840, she issues what has been called the best of her novels, Marian, or a Young Maid’s Fortunes, in which her knowledge of Irish character is again displayed in a style equal to anything written by Maria Edgeworth. Her next work is a series of “Stories of the Irish Peasantry,” contributed to Chambers’s Edinburgh Journal, and afterwards published in a collected form. In 1840 she aids her husband in a book chiefly composed by him, “Ireland, its Scenery, Characters, &c.” She edits the St. James’s Magazine from 1862 to 1863.
In the Art Journal, edited by her husband, she brings out Pilgrimages to English Shrines in 1849, and here the most beautiful of all her books, Midsummer Eve, a Fairy Tale of Love, first appears. One of her last works, Boons and Blessings (1875), dedicated to the Earl of Shaftesbury, is a collection of temperance tales, illustrated by the best artists.
Hall’s sketches of her native land bear a closer resemblance to the tales of Miss Mitford than to the Irish stories of John Banim or Gerald Griffin. They contain fine rural descriptions and are animated by a healthy tone of moral feeling and a vein of delicate humour. Her books are never popular in Ireland, as she sees in each party much to praise and much to blame, so that she fails to please either the Orange Order or the Roman Catholics.
On December 10, 1868, she is granted a civil list pension of £100 a year. She is instrumental in founding the Hospital for Consumption at Brompton, the Governesses’ Institute, the Home for Decayed Gentlewomen, and the Nightingale Fund. Her benevolence is of the most practical nature. She works for the temperance cause, for women’s rights, and for the friendless and fallen. She is a friend to street musicians, and a thorough believer in spiritualism, but this belief does not prevent her from remaining, as she ever was, a devout Christian. She dies at Devon Lodge, East Moulsey, January 30, 1881, and is buried in Addlestone churchyard on February 5.
Lucien Bull, a pioneer in chronophotography, is born in Dublin on January 5, 1876. Chronophotography is defined as “a set of photographs of a moving object, taken for the purpose of recording and exhibiting successive phases of motion.”
Born in Dublin to British father, Cornelius Bull, and French mother, Gabrielle Joune, Bull lives his younger years in Dublin where he attends school and lives at home with his parents. In 1894, Bull moves to France to visit his aunts. After several months, Bull eventually settles in the area and becomes an assistant to Étienne-Jules Marey in 1895. At the time, Marey is working on the cinematographic, which is a camera that is shaped like a rifle and takes pictures of moving objects from a rotating plate. This eventually becomes known as the “gun camera.”
This camera is designed to investigate the study of motion. Basically, the “gun camera” is designed to take an object in motion and snap still shots. By taking these still shots, each movement made by the object is captured and then studied to analyze movement patterns that were unable to be studied before. The first successful film is taken in 1904 when Bull is able to film the flight of a fly at 1,200 frames per second.
As a result of Marey’s death in May 1904, Bull becomes head of the Marey Institute, which forms part of the Collège de France. While remaining with the Marey Institute, Bull is naturalized as a French citizen in 1931. After a few years, Bull eventually introduces a few papers on a wide variety of subjects ranging from spark illuminations, high-speed motion-picture photography, original studies of insect and bird flight, and electrocardiography and muscle and heart functions.
In 1933, Bull is put in charge of research, National Office of Research and Invention in France. In 1948 he becomes President of the Institute of Scientific Cinematography in Paris. His work is eventually listed by Dr. W. Hinsch in Research Film for December 1953.
seamus dubhghaill 