seamus dubhghaill

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


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Birth of Sean Scully, Painter, Printmaker, Sculptor & Photographer

Sean Scully, Irish-born American-based artist working as a painter, printmaker, sculptor and photographer, is born in Dublin on June 30, 1945. His work is held in museum collections worldwide and he has twice been named a Turner Prize nominee.

Four years after his birth, Scully’s family moves to London where they live in a working-class part of South London, moving from lodging to lodging for a number of years. By the age of 9, he knows he wants to become an artist. From the age of 15 until he is 17, he is apprenticed at a commercial printing shop in London as a typesetter, an experience that greatly influences his future artwork.

Scully studies at Croydon School of Art between 1965-67 and at Newcastle University between 1967-71. He is awarded the Frank Knox Memorial Fellowship in 1972 to attend Harvard University. It is during this first stay in the United States that he begins to experiment with new techniques such as tape and spray paint. In 1975 he is awarded a Harkness Fellowship and establishes a studio in New York, where he settles, becoming an American citizen in 1983.

Over the years, Scully develops and refines his own recognisable style of geometric abstraction and most notably his characteristic motif of the ‘stripe.’ Although he is predominately known for his monumental paintings, he is also a gifted printmaker who has made a notable body of woodcuts and etchings.

Scully has his first solo exhibition at the Rowan Gallery, London in 1973. He has his first retrospective at the Ikon Gallery in Brindleyplace, Birmingham, in 1981, which travels throughout the United Kingdom. In 1989 his first solo exhibition in a European museum travels from the Whitechapel Gallery in London to Palacio Velázquez in Madrid and Städtische Galerie im Lenbachhaus in Munich. He has further solo exhibitions at Kunstsammlung Nordrhein Westfalen in Düsseldorf (2001) which travels to Haus der Kunst in Munich and the Institut Valencià d’Art Modern in Valencia; The Phillips Collection in Washington, D.C. (2005) travels to the Modern Art Museum of Fort Worth in Texas, the Cincinnati Art Museum in Ohio and finally the Metropolitan Museum of Art in New York City. A major retrospective tours multiple venues in China between 2015 and 2017.

Scully’s paintings and prints are held in the collections of Tate in London, the Albertina in Vienna, Museo Nacional Centro de Arte Reina Sofía in Madrid, Instituto Valencia d’Arte Modern in Valencia, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York City, the National Gallery of Art in Washington D.C., Modern Art Museum of Fort Worth in Texas, Guangzhou Museum of Art in Guangzhou, China, and the Central Academy of Fine Arts in Beijing, China.

Scully has held teaching positions at Chelsea College of Arts and Goldsmith’s College of Art and Design, both in London, Princeton University in New Jersey, Parsons School of Design in New York, and most recently at the Akademie der Bildenden Künste in Munich. He is shortlisted for the Turner Prize in 1989 and in 1993, and is elected a Royal Academician in 2013. He participates for the first time at the Venice Biennale in 2014.

Sean Scully lives and works in New York and in Bavaria, Germany.


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Birth of Irish American Painter William Harnett

william-michael-harnettWilliam Michael Harnett, Irish American painter known for his trompe-l’œil still lifes of ordinary objects, is born in Clonakilty, County Cork on August 10, 1848, during the time of the Great Famine.

Shortly after his birth Harnett’s family emigrates to the United States, settling in Philadelphia. Becoming a United States citizen in 1868, he makes a living as a young man by engraving designs on table silver, while also taking night classes at the Pennsylvania Academy of the Fine Arts and later, in New York City, at Cooper Union and at the National Academy of Design. His first known oil painting, a still life, dates from 1874.

The style of trompe-l’œil painting that Harnett develops is distinctive and inspired many imitators, but it is not without precedent. A number of Dutch Golden Age painters, Pieter Claesz for instance, had specialized in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in the early 19th century, pioneers the form in America. What sets Harnett’s work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting.

Harnett paints musical instruments, hanging game, and tankards, but also paints the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a board. He paints a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and even paper currency. His works sell well, but they are more likely to be found hanging in a tavern or a business office than in a museum, as they dds not conform to contemporary notions of high art.

still-life-violin-and-musicHarnett spent the years 1880–1886 in Europe, staying in Munich from 1881 until early 1885. His best-known paintings, the four versions of After The Hunt, are painted between 1883 and 1885. Each is an imposing composition of hunting equipment and dead game, hanging on a door with ornate hinges at the right and keyhole plate at the left. These paintings, like the horseshoe or currency depictions mentioned earlier, are especially effective as trompe-l’œil because the objects occupy a shallow space, meaning that the illusion is not spoiled by parallax shift if the viewer moves.

Overall, Harnett’s work is most comparable to that of the slightly younger John F. Peto. The two artists know each other, and a comparison can be made between two paintings featuring violins. Harnett’s Music and Good Luck from 1888 shows the violin hanging upright on a door with ornate hinges and with a slightly torn piece of sheet music behind it. The elements are arranged in a stable, deliberate manner. Peto’s 1890 painting shows the violin hanging askew, as well as chipped and worn, with one broken string. The sheet music is dog-eared and torn around the edges, and placed haphazardly behind the instrument. The hinges are less ornate, and one is broken. Harnett’s objects show signs of use but are well preserved, while Peto’s more humble objects are nearly used up.

Crippling rheumatism plagues Harnett in his last years, reducing the number but not the quality of his paintings. He dies in New York City on October 29, 1892. Other artists who paint similar compositions in Harnett’s wake include his contemporary John Haberle and successors such as Otis Kaye and Jefferson David Chalfant.

Harnett’s work is in collections in the Albright-Knox Art Gallery (Buffalo, New York), the Amon Carter Museum of American Art (Fort Worth, Texas), the Dallas Museum of Art, the Art Institute of Chicago, the Brooklyn Museum, the Carnegie Museum of Art (Pittsburgh, Pennsylvania), the Cincinnati Art Museum, the Cleveland Museum of Art, the Detroit Institute of Arts, the Fine Arts Museums of San Francisco, Harvard Art Museums, the High Museum of Art (Atlanta, Georgia), the Honolulu Museum of Art, the Joslyn Art Museum (Omaha, Nebraska), the Los Angeles County Museum of Art, the Metropolitan Museum of Art (New York, New York), the National Gallery of Art (Washington D.C.), the National Gallery of Canada (Ottawa, Ontario), the Philadelphia Museum of Art, the San Diego Museum of Art, Thyssen-Bornemisza Museum (Madrid, Spain), the Toledo Museum of Art (Toledo, Ohio), the Wadsworth Atheneum (Hartford, Connecticut), and the Wichita Art Museum (Wichita, Kansas) among others.

(Pictured: Music and Good Luck, oil on canvas by William Michael Harnett, 1888, Metropolitan Museum of Art)