seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA


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Death of Landscape Artist Dairine Vanston

Dairine (Doreen) Vanston, Irish landscape artist who works in a Cubist style, dies in Enniskerry, County Wicklow on July 12, 1988.

Vanston is born in Dublin on October 19, 1903. She is the daughter of solicitor John S. B. Vanston, and sculptor Lilla Vanston (née Coffey). She attends Alexandra College, going on to study at Goldsmith’s College, London under Roger Bissière. She then goes to Paris to the Académie Ranson, being sent there following the advice of Paul Henry. While in Paris she meets Guillermo Padilla, a Costa Rican law student at the University of Paris. They marry in 1926 and she takes the name Vanston de Padilla. The couple lives for a time in Italy, before moving to San José, Costa Rica. The marriage breaks down in the early 1930s, at which point she returns to Paris with her son and studies with André Lhote. She is living in France at the outbreak of World War II with Jankel Adler, but is able to escape to London in 1940, and later to Dublin.

Vanston’s time in Paris leaves a lasting impression on her work, including use of primary colours and a strong Cubist influence. She belongs to what critic Brian Fallon calls the “Franco-Irish generation of painters who looked to Paris,” along with Mainie Jellett, Evie Hone, and Norah McGuinness. Her time spent living in Costa Rica in the late 1920s and early 1930s imbues her work with tropical and highly toned colours. In Dublin in 1935, she exhibits 17 paintings, largely Costa Rican landscapes, at Daniel Egan’s gallery on St. Stephen’s Green. This is the closest thing to a solo show she would mount, with this show also featuring Grace Henry, Cecil Ffrench Salkeld, and Edward Gribbon.

Meeting the English artist Basil Rakoczi, who is also living in Dublin during World War II, leads Vanston to become associated with The White Stag group. In November 1941, she exhibits for the first time at a group show with 24 other artists, including Patrick Scott. One work that is shown at this exhibition is the painting Keel dance hall, which demonstrates that she spends time in the west of Ireland. The most important event staged by the group is the Exhibition of subjective art, which takes place at 6 Lower Baggot St. in January 1944. The Dublin Magazine notes her work at this show as the most effective of the experimental vanguard. This work, Dying animal, is a Cubist work with semi-representation forms rendered in bold colours. In 1945, her work is featured in a White Stag exhibition in London of young Irish painters at the Arcade gallery, Old Bond St.

In 1947, Vanston spends almost a year in Costa Rica where she paints primarily in watercolours. Apart from this period, she lives and works in Dublin, living at 3 Mount Street Crescent near St. Stephen’s Church. At the inaugural Irish Exhibition of Living Art in 1943, she exhibits five works. At the first Exhibition of Independent Artists in 1960, of which she is a founder, she exhibits three landscapes and a work entitled War. She largely exhibits with the Independent Artists, the Irish Exhibition of Living Art, and the Oireachtas na Gaeilge, and does not exhibit with the Royal Hibernian Academy. Later in life, she exhibits with the Figurative Image exhibitions in Dublin, and is amongst the first painters chosen for Aosdána. A number of her works are featured in the 1987 exhibition, Irish women artists, from the eighteenth century to the present arranged by the National Gallery of Ireland and The Douglas Hyde Gallery.

Vanston dies on July 12, 1988 in a nursing home in Enniskerry, County Wicklow. Her work is greatly admired, but has received little by way of critical attention, which may have been to do with her slow rate of output. A number of her works have proved difficult to trace. She was a private person, even refusing to cooperate with the Taylor Galleries in the 1980s when they wanted to mount a retrospective of her work. The National Self-Portrait Collection in Limerick holds a work by Vanston.

(Pictured: “Landscape with Lake and Hills” (1964), oil on paper (monotype) by Dairine Vanston)


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Death of Nathaniel Hone The Elder

nathaniel-hone-the-elderNathaniel Hone the Elder, Irish-born portrait and miniature painter, and one of the founder members of the Royal Academy of Arts in 1768, dies in London on August 14, 1784.

Hone is born in Dublin on April 24, 1718, the son of a Dublin-based Dutch merchant. He moves to England as a young man and, after marrying Molly Earle, daughter of the John Campbell, 4th Duke of Argyll, in 1742, eventually settles in London, by which time he has acquired a reputation as a portrait painter. While his paintings are popular, his reputation is particularly enhanced by his skill at producing miniatures and enamels. He interrupts his time in London by spending two years (1750–52) studying in Italy.

As a portrait painter, several of Hone’s works are now held at the National Portrait Gallery in London. His sitters include magistrate Sir John Fielding and Methodist preacher John Wesley, and General Richard Wilford and Sir Levett Hanson in a double portrait. He often uses his son John Camillus Hone (1745-1836) in some of his works, including his unique portrait of “The Spartan Boy,” painted in 1774.

Hone courts controversy in 1775 when his satirical picture The Conjurer (National Gallery of Ireland, Dublin) is seen to attack the fashion for Italian Renaissance art and to ridicule Sir Joshua Reynolds, leading the Royal Academy to reject the painting. It also originally includes a nude caricature of fellow Academician Angelica Kauffman in the top left corner, which is painted out by Hone after Kauffman complains to the academy. The combination of a little girl and an old man has also been seen as symbolic of Kauffman and Reynolds’s closeness, age difference, and rumoured affair. To show that his reputation is undamaged, Hone organises a one-man retrospective in London, the first such solo exhibition of an artist’s work.

The Hone family is related to the old Dutch landed family the van Vianens, who hold the hereditary title of Vrijheer. His great-grand-nephew shares the same name and is also a notable Irish painter, known as Nathaniel Hone the Younger (1831–1917). He is also a relation to painter Evie Hone.

Nathaniel Hone the Elder dies in London at the age of 66 on August 14, 1784.

(Pictured: Oil on canvas self-portrait by Nathaniel Hone, circa 1760)


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Death of Irish Artist Sarah Henrietta Purser

sarah-purser-by-john-butler-yeatsSarah Henrietta Purser, Irish artist mainly noted for her work with stained glass, dies in Dublin on August 7, 1943.

The Purser family had come to Ireland from Gloucestershire in the eighteenth century. Purser is born in Kingstown (now Dún Laoghaire) in County Dublin on March 22, 1848. She is raised in Dungarvan, County Waterford, one of the numerous children of Benjamin Purser, a prosperous flour miller and brewer, and his wife Anne Mallet. She is related to Sir Frederic William Burton, RHA (1816-1900), who is a son of Hannah Mallet. Two of her brothers, John and Louis, become professors at Trinity College Dublin. Her niece Olive Purser, daughter of her brother Alfred, is the first woman scholar at Trinity.

At thirteen Purser attends the Moravian school, Institution Evangélique de Montmirail, Switzerland where she learns to speak fluent French and begins painting. In 1873 her father’s business fails and she decides to become a full-time painter. She attends classes at the Dublin Metropolitan School of Art and joins the Dublin Sketching Club, where she is later appointed an honorary member. In 1874 she distinguishes herself in the National Competition. In 1878 she again contributes to the Royal Hibernian Academy, and for the next fifty years becomes a regular exhibitor, mainly portraits, and shows an average of three works per show.

In 1878-1879, Purser studies at the Académie Julian in Paris where she meets the German painter Louise Catherine Breslau, with whom she becomes a lifelong friend.

Purser becomes wealthy through astute investments, particularly in Guinness, for which several of her male relatives have worked over the years. She is very active in the art world in Dublin and is involved in the setting up of the Municipal Gallery of Modern Art, persuading the Irish government to provide Charlemont House in Parnell Square to house the gallery.

Purser works mostly as a portraitist. Through her talent and energy, and owing to her friendship with the Gore-Booths, she is very successful in obtaining commissions. When the Lord Lieutenant of Ireland commissions her to portray his children in 1888, his choice reflects her position as the country’s foremost portraitist. Various portraits painted by Purser are held in the National Gallery of Ireland.

Purser finances An Túr Gloine (The Tower of Glass), a stained glass cooperative, at 24 Upper Pembroke and runs it from its inauguration in 1903 until her retirement in 1940. Michael Healy is the first of a number of distinguished recruit, such as Catherine O’Brien, Evie Hone, Wilhelmina Geddes, Beatrice Elvery and Ethel Rhind. She is determined the stained glass workshop should adhere to true Arts and Crafts philosophy. An Túr Gloine archive is held in the Centre for the Study of Irish Art, National Gallery of Ireland.

Purser does not produce many items of stained glass herself. Most of the stained glass works are painted by other members of the co-operative, presumably under her direction. Two early works are St. Ita (1904) for St. Brendan’s Cathedral, Loughrea and The Good Shepard (1904) for St. Columba’s College, Dublin. Her last stained glass work is believed to be The Good Shepard and the Good Samaritan (1926) for the Church of Ireland at Killucan, County Westmeath.

Until her death Purser lives for many years in Mespil House, a Georgian mansion with beautiful plaster ceilings on Mespil Road, on the banks of the Grand Canal. Here she is “at home” every Tuesday afternoon to Dublin’s writers and artists. Her afternoon parties are a fixture of Dublin literary life.

Purser dies in Dublin on August 7, 1943 and is buried in Mount Jerome Cemetery beside her brothers John and Louis. Mespil House is demolished after her death and developed into apartments.

Purser is the second woman to sit on the Board of Governors and Guardians, National Gallery of Ireland, 1914-1943. She is made an Honorary Member of the Royal Hibernian Academy in 1890, becoming the first female Associate Member in 1923 and the first female Member in 1924. Also in 1924 she initiates the movement for the launching of the Friends of the National Collection of Ireland. Archives relating to Sarah Purser are housed in the Centre for the Study of Irish Art, National Gallery of Ireland.

(Pictured: Portrait of Sarah Purser by John Butler Yeats, c. 1880–1885)


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Birth of Nathaniel Hone the Elder

 

nathaniel-hone-the-elderNathaniel Hone the Elder, Irish-born portrait and miniature painter, and one of the founder members of the Royal Academy of Arts in 1768, is born in Dublin on April 24, 1718.

The son of a Dublin-based Dutch merchant, Hone moves to England as a young man and, after marrying Molly Earle, daughter of the John Campbell, 4th Duke of Argyll, in 1742, eventually settles in London, by which time he has acquired a reputation as a portrait-painter. While his paintings are popular, his reputation is particularly enhanced by his skill at producing miniatures and enamels. He interrupts his time in London by spending two years (1750–52) studying in Italy.

As a portrait painter, several of Hone’s works are now held at the National Portrait Gallery in London. His sitters include magistrate Sir John Fielding and Methodist preacher John Wesley, and General Richard Wilford and Sir Levett Hanson in a double portrait. He often uses his son John Camillus Hone (1745-1836) in some of his works, including his unique portrait of “The Spartan Boy,” painted in 1774.

Hone courts controversy in 1775 when his satirical picture The Conjurer (National Gallery of Ireland, Dublin) is seen to attack the fashion for Italian Renaissance art and to ridicule Sir Joshua Reynolds, leading the Royal Academy to reject the painting. It also originally includes a nude caricature of fellow Academician Angelica Kauffman in the top left corner, which is painted out by Hone after Kauffman complains to the academy. The combination of a little girl and an old man has also been seen as symbolic of Kauffman and Reynolds’s closeness, age difference, and rumoured affair. To show that his reputation is undamaged, Hone organises a one-man retrospective in London, the first such solo exhibition of an artist’s work.

The Hone family is related to the old Dutch landed family the van Vianens, who hold the hereditary title of Vrijheer. His great-grand-nephew shares the same name and is also a notable Irish painter, known as Nathaniel Hone the Younger (1831–1917). He is also a relation to painter Evie Hone.

Nathaniel Hone the Elder dies on August 14, 1784.

(Pictured: Self-portrait by Nathaniel Hone, circa 1760)