Wynne-Jones is born to landowner Charles Llewellyn Wynne-Jones and Sybil Mary Gella Scott. The family spends half the year in Wales and half the year in Thornhill, Stalbridge, Dorset, England. She has two brothers, Andrew and Ronald (“Polly”), both of whom die in Africa during World War II.
Wynne-Jones is educated at home. Her skill in art leads to her getting lessons in Sherborne from a children’s book illustrator. Her music is encouraged by the family doctor, and she begins to compose and study the violin, receiving lessons in Bournemouth with the first violinist of the symphony orchestra and continues in Aberystwyth after the start of World War II. She goes on to study the violin and composition at the Royal Academy of Music, London (1940–43). While in London she also serves as a Voluntary Aid Detachment nurse until 1943 and later as a draughtswoman at the Ordnance Survey.
After the war Wynne-Jones purchases and manages a bookshop on the King’s Road in Chelsea, but it is not a financial success. She returns to painting, studying at the Heatherley School of Fine Art, London (1951-52) and the Chelsea School of Art (1952–55). She travels extensively through Portugal and Italy painting landscapes. An interest in completing landscapes in an abstract manner leads her to study with Peter Lanyon in St. Ives, Cornwall.
Wynne-Jones begins study in Cornwall in 1957 and remains there for fifteen years. Her first public exhibition is in a group show (1957) at the Pasmore Edwards Gallery, Newlyn. Other group shows are Jefferson Place Gallery, Washington, D.C., (1959), and in Falmouth, Cornwall (1960). Her solo exhibitions are at the New Vision Centre, London (1962 and 1965), Florence (1963) and Dolgellau (1964). From the 1960s through the 1990s she exhibits in Great Britain, Italy, Belgium, Germany, Ireland, Spain, Holland, South Africa, and the United States.
In 1962 Wynne-Jones purchases Trevaylor House near Penzance and provides accommodation for other artists including renowned Irish painter Tony O’Malley, sculptor Conor Fallon, and English poet and writer W. S. ‘Sydney’ Graham. In the 1970s she exhibits in Ireland at the Project Arts Centre, Dublin (1970) and at the Emmet Gallery, Dublin (1975 and 1977). During the 1980s she exhibits at the Lincoln and Hendricks galleries in Dublin before joining the Taylor Galleries, run by John and Patrick Taylor. She is elected honorary member of the Royal Hibernian Academy (RHA) in 1994 and becomes a member of Aosdána in 1996. Originally an abstract artist, her contact with the Irish countryside slowly transforms her work to that of a landscape artist, albeit with an influence of abstraction attached to it. She becomes well known in Irish art circles as an eminent Irish landscape artist.
Wynne-Jones is involved with artist Derek Middleton before moving to Cornwall. There she becomes romantically involved with Graham who is in an open marriage, however it is the death of her mentor Peter Lanyon that devastates her. She meets the sculptor Conor Fallon through their mutual friend Tony O’Malley. Fallon had arrived in Cornwall ostensibly to meet Lanyon. They marry in 1966. Their honeymoon in Provence is immortalised in expressionist paintings done by Wynne-Jones. The couple adopts a boy and a girl, siblings, John and Bridget. In 1972 she moves with her family to Kinsale, County Cork. It is in this area that a number of her paintings are created. She moves to Ballard House, near Rathdrum, County Wicklow in 1987. There she paints the mountain visible from her home.
Wynne-Jones dies at the age of 83 on November 9, 2006. She is buried in Ballinatone (Church of Ireland), Rathdrum.
(Pictured: “Klein Constantia with Table Mountain” by Nancy Wynne-Jones, acrylic on paper, 16 1/2″ x 23″)
David Whyte, Anglo-Irishpoet, is born in Mirfield, West Yorkshire, England on November 2, 1955. He has said that all of his poetry and philosophy are based on “the conversational nature of reality.” His book The Heart Aroused: Poetry and the Preservation of the Soul in Corporate America (1994) topped the best-seller charts in the United States.
Whyte’s mother is from Waterford, County Waterford, and his father is a Yorkshireman. He attributes his poetic interest to both the songs and the poetry of his mother’s Irish heritage and to the landscape of West Yorkshire. He grows up in West Yorkshire and comments that he had “a Wordsworthian childhood,” in the fields and woods and on the moors. He has a degree in marine zoology from Bangor University, a public university in Bangor, Gwynedd, Wales.
During his twenties, Whyte works as a naturalist and lives in the Galápagos Islands, where he experiences a near drowning on the southern shore of Hood Island. He leads anthropological and natural history expeditions in the Andes, the Amazon and the Himalayas.
Whyte moves to the United States in 1981 and begins a career as a poet and speaker in 1986. From 1987, he begins taking his poetry and philosophy to larger audiences, including consulting and lecturing on organisational leadership models in the United States and UK exploring the role of creativity in business. He has worked with companies such as Boeing, AT&T, NASA, Toyota, the Royal Air Force and the Arthur Andersen accountancy group.
Work and vocation, and “Conversational Leadership” are the subjects of several of Whyte’s prose books, including Crossing the Unknown Sea: Work as Pilgrimage of Identity, The Three Marriages: Reimagining Work, Self and Relationship, and The Heart Aroused: Poetry and the Preservation of The Soul in Corporate America which tops the business best seller lists, selling 155,000 copies.
Whyte has written ten volumes of poetry and four books of prose. Pilgrim, published in May 2012, is based on the human need to travel, “From here to there.” The House of Belonging looks at the same human need for home. He describes his collection Everything Is Waiting For You (2003) as arising from the grief at the loss of his mother. His latest book is Consolations: The Solace, Nourishment and Underlying Meaning of Everyday Words, an attempt to ‘rehabilitate’ many everyday words we often use only in pejorative or unimaginative ways. He has also written for newspapers, including The Huffington Post and The Observer. He leads group poetry and walking journeys regularly in Ireland, England and Italy.
Whyte has spent a portion of every year for the last twenty-five years in County Clare. Over the years and over a number of volumes of poetry he has built a cycle of poems that evoke many of the ancient pilgrimage sites of The Burren mountains of North Clare and of Connemara.
Whyte runs the “Many Rivers” organisation and “Invitas: The Institute for Conversational Leadership,” which he founds in 2014. He has lived in Seattle and on Whidbey Island and currently lives in the U.S. Pacific Northwest. He holds U.S., British and Irish citizenship. He is married to Gayle Karen Young, former Chief Talent and Culture Officer of the Wikimedia Foundation. He has a son, Brendan, from his first marriage to Autumn Preble and a daughter, Charlotte, from his second marriage to Leslie Cotter. He has practised Zen and was a regular rock climber. He is a close friend of the late Irish poet John O’Donohue.
Wejchert was born in Kraków, Poland on October 16, 1921. Her father is Tedeusz Wejchert, who ran a shipping business out of Gdańsk. She enters University of Warsaw to study architecture in 1939, and while there witnesses the German invasion of Poland during World War II. Having graduated in 1949, she works as a town planner and architect in Warsaw, where she graduates from the Academy of Fine Arts in 1956 with a degree before moving to Italy.
Wejchert holds her first solo show in 1959 in the Galeria dell’ Obelisco, Rome. She then returns to Warsaw where she is featured in the National Museum “Fifteen years of Polish art” exhibition in 1961. At this time she is still working as an architect, but does not support the social realism of Soviet architecture, which leads her to decide to concentrate solely on art from 1963. She leaves communist Poland in 1964, when she accompanies her younger brother, the architect Andrej Wejchert, when he and his wife Danuta moved to Dublin.
She holds her first solo show in Dublin in November 1966 with an exhibition of 30 paintings at The Molesworth Gallery. In 1967 she shows Blue relief at the Irish Exhibition of Living Art, which is a wall relief of “sculpted paintings” which are precursors to her later free-standing sculpture. She wins the Carroll Open award of £300 at the 1968 Irish Exhibition of Living Art for Frequency No. 5. Also in 1968 she holds a solo exhibition in the Galerie Lamert, Paris, becoming a regular exhibitor there. During this period her work is used as a setting for an electronic music concert with the critic Dorothy Walker noting her designs have a rhythmic quality.
From the 1970s, Wejchert wins commissions for public art, starting with the 1971 wood and acrylic wall relief in the arts building at University College Dublin. In the same year, the Bank of Ireland purchases Blue form 1971 and then Flowing relief in 1972. Her 1971 triptych, Life, is commissioned for the Irish Life headquarters in Abbey Street. The Lombard and Ulster Bank in Dublin commissions untitled in 1980, and Allied Irish Banks (AIB) purchases Freedom in 1985 for their branch in Ballsbridge. Her entry wins a competition in 1975 for a stamp marking International Women’s Year, and features an image of hands reaching for a dove with an olive branch.
Wejchert becomes an Irish citizen in 1979, a member of Aosdána in 1981, and a member of the Royal Hibernian Academy (RHA) in 1995. She is recognised internationally when she is the only Irish sculptor included in Louis Redstone’s new directions (1981). She is shown at the Solomon gallery from 1989 numerous times, including a solo show in 1992. A number of her most important pieces are for Irish universities, such as Geometric form at the University of Limerick and Flame at the University College Cork in 1995, her last work.
Wejchert dies suddenly at her home on Tivoli Road, Dún Laoghaire on October 24, 1995. She has one son, Jacob. The RHA holds a posthumous exhibition of her work in 1995. She is said to have influenced the younger generation of Irish sculptors, including Vivienne Roche, Eilis O’Connell, and Michael Warren. Flame is selected to be a part of the Irish Artists’ Century exhibition at the RHA in 2000.
(Pictured: “Flame,” 1995, brass and granite, University College Cork. This sculpture commemorates the people who bequested their bodies to the UCC Anatomical Gift Programme for the purpose of science and learning. It represents the flame of knowledge which leads to the light of understanding.)
General Charles Edward Saul Jennings, Irish soldier and revolutionary who serves France in the eighteenth century and is sometimes romanticised as Brave Kilmaine, is born on October 19, 1751, in Sauls Court, Dublin.
Jennings is the second son of Theobald Jennings, a physician of Polaniran (Ironpool), Tuam, County Galway, and Eleonore Saul, daughter of Laurence Saul, a wealthy Dublin distiller. Educated privately in Dublin, he leaves Ireland in 1769, settling in Tonnay-Charente in the south of France, where his father had set up practice. His father had, several years previously, assumed the fictitious title of ‘baron of Kilmaine’ in the hope of improving his position in French society, and he subsequently assumes the same title.
In 1774 Jennings joins the Royal Dragoons as a trooper, transferring in 1778 into the Légion de Lauzun, a corps made up mostly of foreign volunteers. After the campaign in Senegal (1778–79) he returns to France and is commissioned as a sous-lieutenant. He then campaigns with Gilbert du Motier, Marquis de Lafayette, during the American Revolutionary War and teaches cavalry tactics at Metz on his return. Promoted to captain in 1788, at the outbreak of the French Revolution, he is stationed at Verdun and, despite a short period in prison, continues to serve with his regiment. In 1791, when several of the regiment’s officers flee from France, he remains and is one of the first officers to swear allegiance to the national assembly.
Promoted to Chef d’escadron in April 1792, Jennings serves under Charles François Dumouriez during the invasion of the Netherlands, distinguishing himself at the Battle of Valmy and the Battle of Jemappes, where he reinforces the French centre at a critical point, ensuring victory. A series of rapid promotions follow. He is made a colonel in January 1793, a general of brigade in March 1794, and a general of division in May1794.
After a series of reverses in the summer of 1793, in which the French lose the fortress-towns of Condé and Valenciennes, the committee of public safety appoints Jennings to command the Armée du Nord on May 15, 1793, with the rank of full general. In August, in order to preserve his force in the face of overwhelming opposition, he retreats from a position 120 miles north of Paris known as ‘Caesar’s camp.’ Although the allied army swings away to invest Dunkirk, he is arrested and imprisoned for endangering the city, and remains in prison until after the fall of Robespierre in July 1794. Within a few days, due to the turbulent political situation, he is rearrested and not released until December 1794. In May 1795 he cooperates with Napoléon Bonaparte in suppressing the Jacobin uprising in Faubourg Saint-Antoine in Paris and, having reestablished his credentials, commands the cavalry during the invasion of Italy (1796). Bonaparte regards him highly, and he distinguishes himself at the Battle of Lodi on May 10, 1796, seizing the city of Milan five days later. He defeats a large Austrian force in the Battle of Borghetto before investing and taking the fortress-town of Mantua in February 1797.
When peace terms are agreed with Austria, Jennings returns to France, taking command of the centre column of the Armée d’Angleterre, which had been raised to invade Britain and Ireland. However, his deteriorating health makes some observers question his suitability for such an appointment. An associate of Thomas Paine and James Napper Tandy, and a friend of Wolfe Tone, he is forced to watch the gradual reduction of his army as Napoleon diverts troops for his campaign in Egypt. Tone is at first suspicious of him, given that many Irish-born French officers had deserted the revolutionary cause but comes to admire him.
After the defeat of Admiral Bombard’s expedition to Ireland and Tone’s arrest on November 3, 1798, Jennings requests that the French government should take a senior British prisoner as hostage and subject him to the same treatment as Tone. After Tone’s death he assists Matilda Tone and her children. In early 1799 he is appointed military governor of Switzerland but is forced to resign due to his failing health.
In a fragile condition Jennings leaves Switzerland and returns to Passy in Paris, where his domestic griefs and chagrins add to the poignancy of his bodily sufferings, for his constitution is now completely broken up. He dies of dysentery on December 11, 1799, at the age of 48. He is buried with full military honours.
Jennings is historically honored at the Arc de Triomphe in Paris, where his name can be seen on the inside triumphal arch, on the Northern pillar, Column 05. Underneath the Arc is the Tomb of the Unknown Soldier (World War I). There is a personal portrait of Jennings in the ‘Hotel de Ville’ (City Hall) at Tonnay-Charente, where his father Dr. Theobald Jennings practiced as a physician.
A monument was erected in Jennings’s memory in Tonnay-Charente in the 19th century. Rue du Général Kilmaine, a street in Tonnay-Charente, is named in his honour in the 19th century.
O’Brien marries Mabel Emmeline Smyly, daughter of Sir Philip Crampton Smyly, on March 8, 1902. Together they have five children. His son Brendan, a surgeon in Dublin, marries artist Kitty Wilmer O’Brien. His daughter Rosaleen Brigid becomes an artist, also known as Brigid Ganly after her marriage to Andrew Ganly. Another artistic relative is Geraldine O’Brien.
Unlike many of his Irish contemporaries, after graduating from Cambridge O’Brien does not study art in Dublin, opting instead to travel to Paris, where he studies the paintings at the Louvre. In 1887, he visits galleries in Italy and then enrolls at the Royal Academy of Fine Arts in Antwerp, Belgium. At the Academy he is a fellow student of Walter Osborne. He leaves Antwerp in 1891 and returns to Paris, where he studies at Académie Julian. He relocates to London in 1893 and then Dublin in 1901.
O’Brien is designated an associate of the Royal Hibernian Academy in 1906, a member in 1907, and is later president between 1910 and 1945. He is made an honorary member of the Royal Academy of Arts, London in 1912.
By the end of 1705, France and its allies control most of Northern Italy, as well as the Savoyard territories of Villefranche and the County of Savoy, now in modern-day France. The main French objective for 1706 is to capture the Savoyard capital of Turin. To prevent Imperial forces in Lombardy intervening, Louis Joseph, Duke of Vendôme, attacks at Calcinato on April 19 and drives them into the Trentino valley. On May 12, Marshall La Feuillade and an army of 48,000 men reach Turin, completing their blockade of the city on 19 June 19. The Imperial commander Prince Eugene of Savoy returns from Vienna and takes the remaining troops into the Province of Verona to await the German contingents. By early July, there are 30,000 Imperial soldiers around Verona facing 40,000 French spread between the Mincio and Adige rivers.
The French position looks very strong but defeat at Ramillies in May means Vendôme and any available troops are sent to Northern France. The siege of Turin continues and although the Hessians have not yet arrived, by mid-July Prince Eugene can no longer delay marching to its relief. Count of Médavy and 23,000 men are left to guard the Alpine passes.
The Hessians finally cross the Alps in July, under the command of Frederick of Hesse-Kassel. As they arrive too late to join Prince Eugene’s march to Turin, the Hessians are tasked with preventing Médavy disrupting his supply routes. On August 19, Frederick sends 2,000 men under Major-General Wetzel to Goito, a small town with a bridge across the Mincio and the French garrison evacuates the town. Castiglione is strongly defended and they have to wait for the heavy artillery to arrive from Arco. Frederick leaves 1,500 men outside the town with the rest positioned near Medole, allowing him to monitor Médavy’s main force at Cremona and the crossing at Goito.
The withdrawal from Goito is part of a plan by Médavy to assemble a field army without alerting Frederick by removing garrisons from key strongpoints like Cremona. He puts together a force of 8,000 infantry and 4,000 cavalry, crosses the Oglio river at Marcaria and attacks on September 8. Dividing his corps leaves Frederick outnumbered. The first assaults are repulsed but a cavalry charge led by the Irish exile Arthur Dillon catches the Hessian left wing as they are changing position and the line collapses. Médavy then turns his attention to those outside Castiglione, many of whom surrender. French casualties are estimated as 1,000 killed or wounded, the Hessians losing around 1,500 killed or wounded plus 2,500 captured.
The remainder fall back on Valeggio sul Mincio. In a letter of September 11 to John Churchill, 1st Duke of Marlborough, Frederick claims his forces were reduced by sickness but although they initially drove the French back, lack of artillery forced him to retreat.
Médavy’s victory leaves the strategic position unaltered. The Battle of Turin on September 7 had broken the siege and after Ramillies France can no longer spare the resources to continue fighting in Italy. Castiglione slightly improves their bargaining position but French garrisons in Lombardy are isolated and cannot be reinforced, their surrender being only a matter of time.
To the fury of the English and Dutch, in March 1707 Emperor Joseph signs the Convention of Milan withdrawing all French troops from Northern Italy in return for free passage back to France.
(Pictured: Arthur Dillon, Colonel of Dillon’s Regiment in the Irish Brigade of France)
After the Desmond defeat at Battle of Affane in 1565, the 14th Earl and his brother, John of Desmond, are detained in England. During their absence, FitzMaurice becomes captain general of County Desmond with the warrant of the Earl. This means he has authority over the soldiers retained in the service of the Desmond Fitzgeralds. In July 1568, he enters Clanmaurice, the territory of the lord of Lixnaw, to distrain for rent and assert the Desmond authority. Having seized 200 head of cattle and wasted the country, he is confronted by Lixnaw on the way home and utterly defeated.
At the end of 1568, the absent Earl of Desmond grants Sir Warham St. Leger a lease of the barony of Kerricurrihy, which cast FitzMaurice’s inheritance into confusion. In 1569 the Lord Deputy of Ireland, Sir Henry Sidney, is informed by FitzMaurice that he has assembled the people of Desmond to tell them that the Lord Deputy was unable to procure the release of the captive earl, who would be executed or perpetually imprisoned, and that the people should proclaim a new earl or captain. With one voice, the people cry out for FitzMaurice to be captain. The earl’s wife, Eleanor Butler, writes to her husband in November that FitzMaurice is seeking to bring the earl into further disrepute and to usurp his inheritance, “by the example of his father.”
To reassert Geraldine authority, FitzMaurice then launches what becomes known as the first of the Desmond Rebellions. The southern part of Ireland erupts into a general rebellion, owing in part to attempts at establishing plantations. In June 1569, FitzMaurice and the Earl of Clancarty (MacCarthy Mor) invade Kerrycurrihy, spoil the inhabitants, take the castle-abbey of Tracton, hang the garrison, and refuse to depart without the surrender to them of the custody of Lady St. Leger and Lady Grenville, the wives of the principal English colonists. FitzMaurice then joins in league with the turbulent brothers of the Earl of Ormond and enters a bond with the Earl of Thomond and John Burke, son of the Earl of Clanricard. He writes to the mayor and corporation of Cork in July ordering the abolition of the new heresy of Protestantism, at a time when he appears to have been taking instruction from Irish Jesuits.
By September 1569, Sidney has broken the back of the rebellion and leaves Sir Humphrey Gilbert behind to suppress FitzMaurice, who seeks refuge in the woods of Aherlow, and after Gilbert’s departure FitzMaurice raises a new force in February 1570 and by a surprise night attack, takes Kilmallock and after hanging the chief townsmen at the market cross, plunders its wealth and burns the town. In February 1571, Sir John Perrot lands at Waterford as Lord President of Munster and challenges FitzMaurice to a duel, which FitzMaurice declines with the remark, “For if I should kill Sir John Perrot the Queen of England can send another president into this province; but if he do kill me there is none other to succeed me or to command as I do.”
FitzMaurice attacks Perrot but retires on mistaking a small cavalry company for the advance party of a larger force. After a second and successful siege by Perrot of the Geraldine stronghold of Castlemaine, FitzMaurice sues for pardon, which is granted in February 1573, after he prostrates himself in Kilmallock church with the president’s sword point next to his heart. He swears fealty to the crown and gives up his son as hostage.
On the return to Ireland of the Earl of Desmond in 1573, FitzMaurice leaves for the continent, offering his reasons variously as a desire to gain pardon from the Queen through the French court, and the unkindness of the earl. In March 1575 he and his family, along with the Geraldine Seneschal of Imokilly, James Fitzedmund Fitzgerald, and the White Knight, Edmund FitzGibbon, sail on the La Arganys for Saint-Malo, Brittany where they are received by the governor. He has several interviews with Catherine de’ Medici in Paris, offering to help make Henry III of France king of Ireland, and is granted a pension of 5,000 crowns in 1576.
Early in the following year FitzMaurice leaves for the Spanish court, where he offers the crown to the brother of King Philip II, Don John. The king is cautious, however. FitzMaurice leaves his sons Maurice and Gerald with Cardinal Antoine Perrenot de Granvelle, and travels to Italy to meet Pope Gregory XIII.
At the papal court FitzMaurice meets adventurer Captain Thomas Stukley, and together they persuade the pope to underwrite the cost of 1,000 troops to invade Ireland, most of whom, according to Philip O’Sullivan Beare, are desperadoes the pope wishes to get out of Italy. Fitzmaurice and Stukley are to rendezvous in Lisbon and proceed to Ireland, however, Stukley decides to throw his troops and support to King Sebastian‘s expedition to Morocco, where he dies.
Following the diversion of Stukley to Morocco, FitzMaurice sets out with the nuncioNicholas Sanders, and Matthew de Oviedo from Ferrol in Galicia, Spain on June 17, 1579, with a few troops on his vessel and three Spanish shallops. They capture two English vessels in the channel and arrive at Dingle on July 16, 1579, launching the Second Desmond Rebellion.
On July 18 they cast anchor in Ard na Caithne, where they garrison at Dún an Óir (Fort of Gold), and are joined on July 25 by two galleys with 100 troops. Four days later their ships are captured by the English fleet under the command of Sir William Wynter. Having exhorted the Earl of Desmond and the Earl of Kildare, as Geraldine leaders, to fight the heretics, FitzMaurice leaves the fort to await the arrival of Stukley who, unknown to him, had been killed at the Battle of Alcácer Quibir in the previous year, during a campaign by King Sebastian of Portugal.
FitzMaurice goes to make a vow at the monastery of the Holy Cross in County Tipperary but becomes caught in a skirmish with the forces of his cousin, Theobald Burke, during which he is shot with a ball in the hollow of the chest, but cuts his way through to Burke and his brother William, both of whom he kills with single strokes of his sword.
The battle is won, but close to the scene his injuries overcome him. He makes his will and orders his friends to cut off his head after death in order that his enemies might not mutilate his body. He begs his attendants to attest that he had not turned tail on the enemy. They assure him and wish him to be quiet because hostile soldiers are closing in, but he insists, “My wounds are clear, my wounds are clear.” Upon his death, a kinsman orders the decapitation and then wraps the head in cloth. An attempt is made to conceal his trunk under a tree, but it is discovered by a hunter and brought to the town of Kilmallock. For weeks, the trunk is nailed to the gallows, until it is shattered by musket fire and collapses.
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)
Bowen is baptised in St. Stephen’s Church on Upper Mount Street. Her parents, Henry Charles Cole Bowen and Florence (née Colley) Bowen, later bring her to Bowen’s Court at Farahy, near Kildorrery, County Cork, where she spends her summers. When her father becomes mentally ill in 1907, she and her mother move to England, eventually settling in Hythe. After her mother dies in 1912, she is raised by her aunts. She is educated at Downe House School under the headship of Olive Willis. After some time at art school in London she decides that her talent lay in writing. She mixes with the Bloomsbury Group, becoming good friends with Rose Macaulay who helps her seek out a publisher for her first book, a collection of short stories entitled Encounters (1923).
In 1923 Bowen marries Alan Cameron, an educational administrator who subsequently works for the BBC. The marriage has been described as “a sexless but contented union.” She has various extra-marital relationships, including one with Charles Ritchie, a Canadiandiplomat seven years her junior, which lasts over thirty years. She also has an affair with the Irish writer Seán Ó Faoláin and a relationship with the American poet May Sarton. She and her husband first live near Oxford, where they socialize with Maurice Bowra, John Buchan and Susan Buchan, and where she writes her early novels, including The Last September (1929). Following the publication of To the North (1932) they move to 2 Clarence Terrace, Regent’s Park, London, where she writes The House in Paris (1935) and The Death of the Heart (1938). In 1937, she becomes a member of the Irish Academy of Letters.[3]
In 1930 Bowen becomes the first (and only) woman to inherit Bowen’s Court, but remains based in England, making frequent visits to Ireland. During World War II she works for the British Ministry of Information, reporting on Irish opinion, particularly on the issue of neutrality. Her political views tend towards Burkean conservatism. During and after the war she writes among the greatest expressions of life in wartime London, The Demon Lover and Other Stories (1945) and The Heat of the Day (1948). She is awarded the CBE the same year.
Bowen’s husband retires in 1952 and they settle in Bowen’s Court, where he dies a few months later. Many writers visit her at Bowen’s Court from 1930 onwards, including Virginia Woolf, Eudora Welty, Carson McCullers, Iris Murdoch, and the historian Veronica Wedgwood. For years Bowen struggles to keep the house going, lecturing in the United States to earn money. In 1957 her portrait is painted at Bowen’s Court by her friend, painter Patrick Hennessy. She travels to Italy in 1958 to research and prepare A Time in Rome (1960), but by the following year she is forced to sell her beloved Bowen’s Court, which is demolished in 1960. In the following months, she writes for CBS the narrative of the documentary titled Ireland the Tear and the Smile which is realized in collaboration with Robert Monks as cameraman and associate producer. After spending some years without a permanent home, she finally settles at “Carbery”, Church Hill, Hythe, in 1965.
In 1972 Bowen develops lung cancer. She dies at the age of 73 in University College Hospital in London on February 22, 1973. She is buried with her husband in St. Colman’s churchyard in Farahy, close to the gates of Bowen’s Court, where there is a memorial plaque to the author at the entrance to St. Colman’s Church, where a commemoration of her life is held annually.
O’Shea is discovered in the 1950s by Harry Dillon, who runs the 37 Theatre Club on the top floor of his shop, the Swiss Gem Company, 51 Lower O’Connell Street, Dublin. Early in his career he tours with the theatrical company of Anew McMaster.
O’Shea begins acting on the stage, then moves into film in the 1960s. He becomes popular in the United Kingdom, as a result of starring in the BBC sitcom Me Mammy alongside Yootha Joyce. In 1967–68 he appears in the drama Staircase, co-starring Eli Wallach and directed by Barry Morse, which stands as Broadway‘s first depiction of homosexual men in a serious light. For his role in that drama, he is nominated for the Tony Award for Best Actor in a Play in 1968.
Other stage appearances include Mass Appeal (1981) in which he originates the role of Father Tim Farley, for which he is nominated for the Tony Award for Best Actor in a Play in 1982, the musical Dear World in which he plays the Sewer Man opposite Angela Lansbury as Countess Aurelia, Corpse! (1986) and a 1994 Broadway revival of Philadelphia, Here I Come!.
O’Shea’s first wife is Maureen Toal, an Irish actress, with whom he has two sons, Colm and Steven. They divorce in 1974. His second wife is Irish actress Kitty Sullivan, whom he meets in Italy, where he is filming Barbarella and she is auditioning for Man of La Mancha. The couple occasionally act together, such as in a 1981 Broadway revival of My Fair Lady. O’Shea and Sullivan have no children together. They both adopt United States citizenship and reside in New York City, where they both live from 1976.
O’Shea dies on April 2, 2013, in New York City following a short illness at the age of 86. He is buried at Deans Grange Cemetery.
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