In 2006 Feeley completes a doctorate (Doctor of Philosophy in Music [Performance]) at Maynooth University, which involves a major thesis in three volumes with the title Classical Guitar Music by Irish Composers: Performing Editions and Critical Commentary.
Feeley is an enthusiastic champion of contemporary Irish music and in this capacity has commissioned works from many of Ireland’s leading composers including Seóirse Bodley, John Buckley, Jerome de Bromhead, Jane O’Leary, Brent Parker and Eric Sweeney. He also has a great interest in traditional Irish and Scottish music and has recorded with The Chieftains and published his own arrangements of traditional melodies.
Feeley has been described by The Washington Post as “Ireland’s leading classical guitarist” and by Michael Dervan in The Irish Times as “a trailblazer … when it comes to the guitar and guitar-playing in Ireland.”
For the Grand Alliance – Austria, England, and the Dutch Republic – the Battle of Ramillies follows an indecisive campaign against the Bourbon armies of King Louis XIV of France in 1705. Although the Allies capture Barcelona that year, they are forced to abandon their campaign on the Moselle, stall in the Spanish Netherlands and suffer defeat in northern Italy. Yet despite his opponents’ setbacks Louis XIV wants peace, but on reasonable terms. Because of this, as well as to maintain their momentum, the French and their allies take the offensive in 1706.
In less than four hours Marlborough’s Dutch, English, and Danish forces overwhelm Villeroi’s and Maximilian II Emanuel‘s Franco-Spanish-Bavarian army. The Duke’s subtle moves and changes in emphasis during the battle, something his opponents fail to realise until it is too late, catches the French in a tactical vice. With their foe broken and routed, the Allies are able to fully exploit their victory. Town after town falls, including Brussels, Bruges and Antwerp. By the end of the campaign Villeroi’s army has been driven from most of the Spanish Netherlands. With Prince Eugene of Savoy‘s subsequent success at the Siege of Turin in northern Italy, the Allies impose the greatest loss of territory and resources that Louis XIV would suffer during the war. Thus, the year 1706 proves, for the Allies, to be an annus mirabilis.
(Pictured: “The Battle of Ramillies between the French and the English, 23 May 1706” by Jan van Huchtenburgh, oil on canvas painted between 1706 and 1710)
Siobhán Cleary, composer, is born in Dublin on May 10, 1970. Her most successful compositions are her orchestral works Alchemy and Cokaygne and her choral piece Theophilus Thistle and the Myth of Miss Muffett. Her opera Vampirella is first performed in Dublin in March 2017. She is a member of Aosdána.
Inspired by the alchemists’ Opus Alchymicum which describes how cheaper metals are transmuted into gold, Cleary’s orchestral work Alchemy (2001) is, like the stages in the Opus, presented in four parts: it evolves from the slow nigrendo, the moderate albedo, the strong citronatus, and the burning rubedo. The work is performed by the RTÉ National Symphony Orchestra in January 2002.
Cleary’s tone poem Cokaygne (2009), which, like Alchemy, is commissioned by RTÉ for the National Symphony Orchestra, is based on a poem and old sources which evoke a land of extreme luxury and contentment. The elaborately orchestrated piece is performed by the RTÉ National Symphony Orchestra in November 2009, Vladimir Altschuler conducting. It is performed by the RTÉ National Symphony Orchestra once again in June 2016, this time under the baton of Alan Buribayev.
Cleary’s choral work Theophilus Thistle and the Myth of Miss Muffett (2010), commissioned by the Cork International Choral Festival, is first performed in April 2011 by Chamber Choir Ireland directed by Paul Hillier. The work is based on a series of tongue twisters and other strange combinations of words popular in various European languages and dialects, moving from Italy, through Germany and Spain, finishing in Ireland. In 2013, it is performed twice by Chamber Choir Ireland in Dublin and Cork in connection with Ireland’s presidency of the European Union. The journalist and music critic Terry Blain comments on the choir’s “dazzingly virtuosic performance” in Belfast in 2013, qualifying the piece as “a tour de force of 21st century vocal chicanery, a clever and richly entertaining composition.” Theophilus Thistle is also performed the same year in the United States as part of the “Imagine Ireland” festival.
The chamber opera Vampirella with a libretto by Katy Hayes is first performed by students from the Royal Irish Academy of Music and the Lir National Academy of Dramatic Art at Dublin’s Smock Alley Theatre in March 2017. Based on a short story by Angela Carter telling how a young English soldier is seduced by a vampire countess, it is directed by Conor Hanratty and conducted by Andrew Synnott. Michael Dervan of The Irish Times finds the electronic sounds in the score particularly effective, commenting, “Perhaps this is a case of a genuinely electronic opera trying to break out of a more conventional mold.”
In 1996, Cleary receives a young artists award from Pépinières européennes pour jeunes artistes, followed in 1997 by the first prize in the Arklow Music Festival Composers’ Competition. In 2008, she is invited to become a member of Aosdána, an Irish association of creative artists.
Moran grows up in Rialto, Dublin until his early teens, before he moves to the Long Mile Road in Walkinstown. While there, he attends James’s Street CBS and Drimnagh Castle Secondary School where Gaelic football is the dominant sport although association football proves to be the sport he plays on the streets while growing up. During the period in which he plays Gaelic football for Good Counsel GAA and association football for Rangers A.F.C., Bohemian F.C. and Pegasus A.F.C., he has divided loyalties between the two sports, as both sports are then played on Saturday.
In his native Ireland, Moran plays at senior level for the Dublin county football team. A former Dublin under-21 player, he is called up to the senior panel for the first time in 1976. He wins two All-Ireland Championship medals with Dublin in 1976 and 1977. In the 1976 final, he helps Dublin to defeat (by 3–8 to 0–10) Kerry, the winner over Dublin in the 1975 final, and again in the 1977 semi-final, aided by new tactics which manager Kevin Heffernan introduces, and which hinders Kerry’s tactic of pulling defenders forward and taking full advantage of the space behind the half-back line. The 1977 final results in a 5–12 to 3–6 victory over Armagh at Croke Park. He is awarded a GAA GPA All-Stars Award for his performance in the 1976 championship.
Moran is also part of the 1976–77 side that wins the National Football League for Dublin with a win over Derry in the final. He plays his club football for Dublin-based GAA club Good Counsel.
With Bohemian F.C. winning everything bar the FAI Cup in the 1974-75 League of Ireland season, 18-year-old Moran does not have an opportunity for much game time and only makes one League of Ireland appearance in the last game of the season on April 17, 1975. After Bohs he moves to University College Dublin A.F.C. where in December 1975 he wins the Collingwood Cup. In February 1976 he wins the Universities Championship when he scores the winner for the Irish Universities against their Scottish counterparts. He plays for Pegasus A.F.C. from 1976-78.
Moran is spotted by Billy Behan, a Manchester United F.C. scout, who reports to United manager Dave Sexton, and Moran signs for Manchester United in February 1978. He makes his senior debut on April 20, 1979, against Southampton F.C., and is a regular player in the first team by the time Ron Atkinson succeeds Sexton as manager in June 1981. Despite not being the tallest of defenders, he is known for his strong aerial ability and is a threat in the box from corners and set pieces. Playing as a centre-back, he wins FA Cup medals with the club in 1983 and 1985.
Moran is notable for being sent off in the 1985 FA Cup Final against Everton F.C., the first player ever to be sent off in an FA Cup final. TV cameras reveal that he had gone for the ball, and not for Peter Reid in the offending tackle. He is later presented with the winner’s medal that had at first been withheld.
After 10 years with United, Moran leaves Old Trafford as a 32-year-old in the summer of 1988, having played his final 18 months at the club under the management of Alex Ferguson. His first team opportunities are limited since the arrival of Steve Bruce in December 1987.
Moran transfers to Sporting Gijón, where he remains for two seasons, making 33 appearances without scoring. During his time at Sporting Gijón, he rooms with promising youngster and future Real Madrid CF and FC Barcelona star Luis Enrique.
In 1990, Moran returns to England to join Second DivisionBlackburn Rovers F.C. He is an automatic choice in the first team but endures a disappointing first season at Ewood Park as Rovers finishes 19th in the Second Division. The following season is a huge success, however, as playoff victory ends the club’s 26-year exile from the top division and secures their place in the new Premier League. He continues in his role as club captain as Rovers finishes fourth in 1992–93 and runners-up in 1993–94. He retires at the end of the 1993–94 season, one year before Rovers wins their first league title in 81 years. In both seasons preceding his retirement, Rovers are beaten to the title by his old club, Manchester United.
Moran makes his debut for the Republic of Ireland against Switzerland in 1980 and plays a key role in Ireland’s unsuccessful attempt to qualify for the 1982 FIFA World Cup finals in Spain. He plays 71 times for Ireland between 1980 and 1994, including UEFA Euro 1988 in Germany and the 1990 FIFA World Cup in Italy, and scores 6 goals. He is also a member of the Irish squad at the 1994 FIFA World Cup in the United States, despite being 38 years old and about to retire from playing completely but does not play due to an injury he picks up before the tournament starts.
After retiring from football, Moran makes a career in business. In 1994, he forms a football agency, Proactive Sports Management, with Paul Stretford and Jesper Olsen. His own clients include John O’Shea and Steve Finnan. He also works as a pundit on Irish television channel TV3.
After some years as curate at St. Paul’s Church in Dublin, Murray is transferred to Arklow and is there in 1798 when the rebellion breaks out. The yeomanry shoots the parish priest in bed and Murray, to escape a similar fate, flees to the city where for two years he serves as curate at St. Andrew’s Chapel on Hawkins Street. As a preacher, he is said to be particularly effective, especially in appeals for charitable causes, such as the schools. He is then assigned to the Chapel of St. Mary in Upper Liffey Street where Archbishop John Troy is the parish priest.
Murray is an uncompromising opponent of a proposal granting the British government a “veto” over Catholic ecclesiastical appointments in Ireland, and in 1814 and 1815, makes two separate trips to Rome concerning the controversy.
Murray becomes Archbishop of Dublin in 1825 and on November 14, 1825, celebrates the completion of St. Mary’s Pro-Cathedral. He enjoys the confidence of successive popes and is held in high respect by the British government. His life is mainly devoted to ecclesiastical affairs, the establishment and organisation of religious associations for the education and relief of the poor. With the outbreak of cholera in the 1830s, in 1834 he and Mother Aikenhead found St. Vincent’s Hospital. He persuades Edmund Rice to send members of the Christian Brothers to Dublin to start a school for boys. The first is opened in a lumber yard on the city-quay. He assists Catherine McAuley in founding the Sisters of Mercy, and in 1831 professes the first three members.
Edward Bouverie Pusey has an interview with Murray in 1841, and bears testimony to his moderation, and John Henry Newman has some correspondence with him prior to Newman’s conversion from the Anglican Church to the Roman Catholic Church in 1845. A seat in the privy council at Dublin, officially offered to him in 1846, is not accepted. He takes part in the synod of the Roman Catholic clergy at Thurles in 1850.
Towards the end of his life, Murray’s eyesight is impaired, and he reads and writes with difficulty. Among his last priestly functions is a funeral service for Richard Lalor Sheil who had died in Italy, and whose body had been brought back to Ireland for burial. Murray dies in Dublin on February 26, 1852, at the age of eighty-four. He is interred in the St. Mary’s Pro-Cathedral, Dublin, where a marble statue of him has been erected in connection with a monument to his memory, executed by James Farrell, president of the Royal Hibernian Academy of Fine Arts.
(Pictured: Portrait of Daniel Murray, Archbishop of Dublin, by unknown 19th century Irish portrait painter)
Hone’s most important works are probably the East Window, depicting the Crucifixion, for the Chapel at Eton College, Windsor (1949–1952) and My Four Green Fields, now located in Government Buildings, Dublin. This latter work, commissioned for the Irish Government’s Pavilion, wins first prize for stained glass in the 1939 New York World’s Fair. It graces CIÉ‘s Head Office in O’Connell Street from 1960 to about 1983. The window is then taken into storage by Abbey Glass in Kilmainham, Dublin at the request of the Office of Public Works.
The East Window of Eton College is commissioned following the destruction of the building after a bomb is dropped on the school in 1940 during World War II. She is commissioned to design the East Window in 1949, and the new window is inserted in 1952. This work is featured on an Irish postage stamp in 1969. From December 2005 to June 2006, an exhibition of her work is on display at the National Gallery of Ireland. Saint Mary’s church in Clonsilla also features her stained glass windows.
Hone is extremely devout. She spends time in an Anglican Convent in 1925 at Truro in Cornwall and converts to Catholicism in 1937. This may have influenced her decision to begin working in stained glass. Initially she works as a member of the An Túr Gloine stained glass co-operative before setting up a studio of her own in Rathfarnham.
Unmarried, Hone dies on March 13, 1955, while entering her parish church at Rathfarnham. She is survived by two of her sisters. Over 20,000 people visit a memorial exhibition of her work at University College Dublin (UCD), Earlsfort Terrace, Dublin, in 1958.
(Pictured: “My Four Green Fields” by Evie Hone, which depicts the four provinces of Ireland)
McLachlan is the featured composer in the RTÉ National Symphony Orchestra‘s “Horizons” series in 2003 and 2008. He also represents Ireland at international festivals, including the ISCM World Music Days in Slovenia in 2003 and Croatia in 2005. In 2006, his work Grand Action is commissioned as a test-piece for the AXA Dublin International Piano Competition.
McLachlan’s musical aesthetic is largely shaped by a desire to impart a sense of narrative and expectation to his music without recourse to pastiche rhetorical devices. A critic writes of a recording of McLachlan’s piano piece Nine: “The style of each little piece sends one’s imagination and musical memory reeling, some of them evoking French Impressionism, some jazzy in feel, some reminiscent of the miniatures for piano of Webern, and none of them in any way, shape or form derivative.” Much of his music is structured in contrasting and suddenly changing block-like sections of homogeneous material. The material within these sections is propelled by a rigorous focus on subtle rhythmic and melodic permutations, which result in both surface opacity and gradually increasing tension.
Conway is the eldest of four sons and five daughters of Patrick Joseph Conway and Annie Conway (née Donnelly). His father, a self-employed housepainter, also has a paint shop in Kent Street off Royal Avenue. His mother, who survives her son, is born in Carlingford, County Louth. He attends Boundary Street Primary School, St. Mary’s CBS (now St. Mary’s CBGS Belfast). His academic successes are crowned by a scholarship to Queen’s University Belfast. He decides to study for the diocesan priesthood. In 1933 he is conferred with an honours BA in English literature and goes on to read a distinguished course in theology at St. Patrick’s College, Maynooth.
Conway is ordained on June 20, 1937, and awarded a DD (1938). On November 12, 1938, he enters the Pontifical Irish College in Rome, and in 1941 he receives the DCL degree at the Pontifical Gregorian University. When Italy enters World War II in June 1940, he returns to Belfast to take up duty in the Diocese of Down and Connor. He is appointed to teach English and Latin in St. Malachy’s College in Belfast, but after one year he is named professor of moral theology and canon law in Maynooth. He contributes regular ‘Canon law replies’ to the Irish Ecclesiastical Record, which are later collected as Problems in canon law (1950), the only book published by him.
In 1957 Conway becomes vice-president of Maynooth, and in 1958, he is named Ireland’s youngest bishop, Titular Bishop of Neve, and auxiliary bishop to Cardinal John D’Alton, Archbishop of Armagh and Primate of All Ireland. He is consecrated in St. Patrick’s Cathedral, Armagh on July 27, 1958. He serves as administrator of St. Patrick’s Church, Dundalk, for the next five years, gaining valuable pastoral experience, and also uses these years to familiarise himself with his new diocese, especially its geography. On the death of D’Alton, he is chosen to succeed him in September 1963, and is enthroned on September 25 in St. Patrick’s Cathedral, Armagh by the apostolic nuncio, Archbishop Sensi. At the end of 1964, Pope Paul VI chooses him as Ireland’s seventh residential cardinal, and he receives the red hat in the public consistory of February 22, 1965.
The thirteen-odd years of Conway’s ministry as primate are dominated firstly by the Second Vatican Council and secondly by the Troubles in Northern Ireland. His primary concern is the church, to steer it through testing times. He is a very active bishop in a diocese of 160,000 Catholics, with fifty-seven parishes and some 167 priests. He carries the burden alone until 1974 when he is given an auxiliary in the person of his secretary, Fr. Francis Lenny (1928–78). Two new parishes are created, five new churches are built, and many others are renovated to meet the requirements of liturgical reform. Twenty new schools are also provided. He attends all four sessions of the Vatican council (1962–65), as auxiliary bishop and as primate. On October 9, 1963, he addresses the assembly, making a plea that the council might not be so concerned with weightier matters as to neglect to speak about priests. He also makes contributions on the topics of mixed marriages, Catholic schools, and the laity. On the topic of education, he is convinced that integrated schools will not solve Northern Ireland’s problems.
Conway represents the Irish Catholic Bishops’ Conference at each assembly of the Synod of Bishops in Rome, at first with Bishop Michael Browne of the Diocese of Galway and Kilmacduagh, his former professor in Maynooth, and later with the Archbishop of Dublin, Dermot Ryan. With Cardinals Jean-Marie Villot and Pericle Felici, he is chairman of the first synod in 1969, a signal honour conferred on him by Pope Paul VI. He addresses the assembly, opposing the ordination of married men as a move that would release a flood of applications from around the world for dispensations from priestly celibacy. His experience of violence in Northern Ireland is reflected in contributions he makes to later synod assemblies, especially in 1971 and 1974.
Apart from the synod, Conway travels a few times each year to Rome for meetings of the three Roman congregations on which he is called to serve (those of bishops, catholic education, and the evangelisation of peoples) and the commission for the revision of the code of canon law. He also travels further afield in a representative capacity to the International Eucharistic Congress at Bogotá, also attended by Pope Paul VI, and to Madras (1972), where he acts as papal legate for the centenary celebrations in honour of St. Thomas. In 1966 he is invited by the bishops of Poland to join in celebrations for the millennium of Catholicism in that country but is refused an entry visa by the Polish government. In January 1973 he feels obliged to forgo participation in the Melbourne eucharistic congress because of the troubled situation at home. Within Ireland he accepts invitations to become a freeman of Cork and Galway (1965) and of Wexford (1966). In 1976 the National University of Ireland (NUI) confers on him an honorary LL.D.
Conway is acknowledged as an able and diligent chairman of the Irish Catholic Bishops’ Conference. The core problem in the early years is how to lead the Irish church into the difficult new era that follows the council. He shows exceptional leadership qualities in the manner in which he promotes firm but gentle progress, avoiding sudden trauma and divisions. A major event in his term as Archbishop of Armagh, and one that gives him much satisfaction, is the canonization of Oliver Plunkett, his martyred predecessor, in the holy year 1975. He follows with great interest the final stages of the cause from 1968 and is greatly disappointed when grounded by his doctors six weeks before the event. He does however take part, concelebrating with Pope Paul VI at the ceremony on October 12, 1975. He also presides the following evening at the first mass of thanksgiving in the Lateran Basilica, receiving a tumultuous applause from the thousands of Irish present.
More than anything else, the Troubles in Northern Ireland occupy Conway during the second half of his term as archbishop and primate. He is the leading spokesman of the Catholic cause but never fails to condemn atrocities wherever the responsibility lay. He brands as ‘monsters’ the terrorist bombers on both sides. In 1971 he denounces internment without trial, and the following year he is mainly responsible for highlighting the ill-treatment and even torture of prisoners in Northern Ireland. He repudiates the idea that the conflict is religious in nature, emphasising its social and political dimensions, and is openly critical of the British government over conditions in Long Kesh Detention Centre, and of ‘the cloak of almost total silence’ surrounding violence against the Catholic community.
In January 1977 Conway undergoes surgery in a Dublin hospital, and almost immediately comes to know that he is terminally ill. It is the best-kept secret in Ireland until close to the end. On March 29, he writes to his fellow bishops informing them that the prognosis regarding his health is ‘not good, in fact . . . very bad,’ and that he is perfectly reconciled to God’s will. He is still able to work at his desk until Good Friday, April 8, 1977.
Conway dies in Armagh on Low Sunday night, April 17, 1977. Seven countries are represented at his funeral by six cardinals and many bishops. The apostolic nuncio, the bishops of Ireland, the president and Taoiseach, six Irish government ministers, and the Secretary of State for Northern Ireland are also among the mourners. The cardinal is laid to rest in St. Patrick’s Cathedral Cemetery, Armagh. The red hat received from Pope Paul VI is suspended from the ceiling of the Lady chapel, joining those of his four immediate predecessors.
(From: “Conway, John William,” Dictionary of Irish Biography, http://www.dib.ie, contributed by J. J. Hanley)
Patrick Anthony HennessyRHA, 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.
Under the managership of the writer James Joyce, Ireland’s first cinematographic theatre, the Volta Electric Theatre (later renamed the Lyceum Picture Theatre), opens at 45 Mary Street in Dublin on December 20, 1909. The site has since been demolished and is occupied today by a department store.
In the early 1900s, demand for moving pictures is fierce and cinemas are springing up all over the world. After visiting Trieste, Joyce is determined to bring a cinema to Ireland. After receiving the backing of his Italian friends, he sets up the Cinematograph Volta on Mary Street. It opens its doors on December 20, 1909. The opening night features an eclectic program, with the comedy Deviled Crab, the mystery Bewitched Castle, La Pourponièrre, The First Paris Orphanage, and The Tragedy of Beatrice Cency. A popular actor is Charlie Chaplin.
Joyce soon becomes disillusioned with the venture, as the cinema mainly shows films from Europe and Italy, which are largely shunned by Dubliners at the time. After seven months, Joyce withdraws his involvement and the cinema is sold to the British Provincial Cinema Company. The cinema remains open until 1919.
In 1921, it is reopened as the Lyceum Picture Theatre following alterations which increase seating from 420 to 600. In the 1940s, Capitol and Allied Theatres Ltd. acquires the cinema. However, it closes its doors for the last time in 1948. Although it survives almost 40 years, the cinema is rarely successful.
Penneys, a fast fashion retailer and subsidiary of the British food processing and retail company Associated British Foods, purchases the building along with adjacent shops and builds a department store on the demolished site. For many years the site of Ireland’s first cinema is unknown to many as there is no plaque to commemorate it. However, on June 12, 2007, a plaque is unveiled on the original site marking the significance of 45 Mary Street.
A connection between the name and cinema in Ireland still remains. Volta is a streaming service for mainly Irish content.
seamus dubhghaill 