seamus dubhghaill

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

Tag Archives: Realism (art movement)


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Birth of Irish Sculptor Albert Power

Albert George Power, Irish sculptor in the academic realist style, is born at 8 Barrack Street (now Benburb Street) in Dublin on November 16, 1881. He is particularly known for his iconic statue of the Irish writer Pádraic Ó Conaire.

Power is born to Henry Power, a watchmaker, and Mary (née Atkins), an embroideress. He has one older brother, and one younger sister. He attends a Christian Brothers national school in North Brunswick Street. As a child he plays in local clay brickyards and sculpts busts of his friends. After finishing his primary school education, he trains with a firm of sculptors run by Edward Smyth. In 1884, he enrolls as an evening pupil at the Dublin Metropolitan School of Art (DMSA), later attending as a full-time student from 1906 to 1911. During his time at the DMSA he is taught and strongly influenced by John Hughes, Oliver Sheppard and William Orpen. He wins a number of prizes during his time at the DMSA, including medals, three scholarships, book prizes, and the national gold medal for the best modeling of a nude figure, in Ireland, Scotland, and the Channel Islands in 1911.

Power marries Agnes Kelly in 1903. The couple has ten children, four daughters and six sons, including May and James who also become sculptors.

Power establishes his own stone-carving business in 1912 from his new home at 18 Geraldine Street, Phibsborough, Dublin. As the firm grows, it moves to premises nearby at 15 Berkeley Street from 1930. He executes a wide range of works, including monuments and architectural features in bronze, marble, and stone. Among his notable works are the figure of “Science” designed by Sheppard from the façade of the new Royal College of Science for Ireland (later Government Buildings) on Merrion Street, Dublin, carved motifs and sphinxes for the Gresham Hotel, O’Connell Street, and four statues on the dome of Christ the King church, Carndonagh, County Donegal.

Power is considered the leading Irish sculptor of the 1920s and 1930s. He is a nationalist and promotes the use of Irish materials such as limestone from Durrow and Connemara marble. He is noted for his academic realist style. He exhibits regularly with the Royal Hibernian Academy from 1906, becoming an associate member in 1911, and a full member in 1919. Among those he models sculptures for are James Stephens (1913), W. B. Yeats (1918), and Lord Dunsany (1920). Among his patrons are Oliver St. John Gogarty, and through Gogarty he is commissioned to model a number of prominent Irish nationalists. Gogarty asks him to carve a portrait of Terence MacSwiney in 1920, while MacSwiney is on hunger strike in HM Prison Brixton, London. Smuggled into the prison to do a thumbnail sketch, Power then carves a portrait in the form of a life mask.

On Gogarty’s recommendation, Power is commissioned by the Irish Free State government to create portraits of a number of leading politicians including Arthur Griffith (1922), Michael Collins (1936), and Austin Stack (1939). He is also privately commissioned to execute a portrait of Éamon de Valera in 1944. Among his monumental works are sculptures of Tom Kettle (1919) at St. Stephen’s Green, Dublin, Christ the King in Gort, County Galway, (1933), Pádraic Ó Conaire (1935) at Eyre Square, Galway, and W. B. Yeats (1939) at Sandymount Green, Dublin. He is one of the artists invited to submit designs for the new coinage of the Irish Free State in 1928.

Power dies in Dublin on July 10, 1945, following complications from a double hernia. His is buried in Glasnevin Cemetery, Dublin.


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Birth of William Orpen, Irish-born Artist

Major Sir William Newenham Montague Orpen, KBE, RA, RHA, Irish artist who mainly works in London and is best known for his vigorously characterized portraits, is born on November 27, 1878, at Oriel, Grove Avenue, Stillorgan, County Dublin. He also works as an official war artist during World War I.

Orpen is the fourth and youngest son of Arthur Herbert Orpen (1830–1926), a solicitor, and his wife, Anne Caulfield (1834–1912), the eldest daughter of the Right Rev. Charles Caulfield (1804–1862), the Bishop of Nassau. Both his parents are amateur painters, and his eldest brother, Richard Caulfield Orpen, becomes a notable architect. His nieces are Bea Orpen and Kathleen Delap. The historian Goddard Henry Orpen is his second cousin. The family lives at “Oriel,” a large house with extensive grounds containing stables and a tennis court. He appears to have a happy childhood there.

Orpen is a naturally talented painter, and six weeks before his thirteenth birthday is enrolled at the Dublin Metropolitan School of Art. During his six years at the college, he wins every major prize there, plus the British Isles gold medal for life drawing, before leaving to study at the Slade School of Fine Art in London between 1897 and 1899. At the Slade he masters oil painting and begins to experiment with different painting techniques and effects.

While at the Slade, Orpen becomes engaged to Emily Scobel, a model and the subject of his painting The Mirror (1900). She ends their relationship in 1901, and he marries Grace Knewstub, the sister-in-law of Sir William Rothenstein. He and Knewstub have three daughters together, but the marriage is not a happy one. By 1908, he has begun a long-running affair with Evelyn Saint-George, a well-connected American millionairess based in London, with whom he also has a child.

Orpen first exhibits at the New English Art Club (NEAC) in 1899, becoming a member in 1900. In 1901, he holds a solo exhibition at the Carfax Gallery in central London. His portraits, which establish his reputation, show the influence of the Realist artist Édouard Manet. He also becomes known as a painter of group portraits such as Homage to Manet (1909), in which he portrays members of the contemporary English art world sitting in conversation beneath a famous portrait by that artist.

At the start of World War I, a number of Irish people living in England return to Ireland to avoid conscription. Among them is Orpen’s studio assistant and former pupil, Seán Keating. Keating encourages him to do likewise, but he refuses and commits himself to supporting the British war effort. In December 1915, he is commissioned into the Royal Army Service Corps and reports for clerical duty at London’s Kensington Barracks in March 1916. Throughout 1916 he continues painting portraits, most notably one of a despondent Winston Churchill, but soon starts using both his own contacts and those of Evelyn Saint-George, to secure a war artist posting.

He is the official painter of the Paris Peace Conference after World War I. Throughout 1919 he paints individual portraits of the delegates to the Conference and these form the basis of his two large paintings, A Peace Conference at the Quai d’Orsay and The Signing of Peace in the Hall of Mirrors. In both pictures, the architecture overwhelms the gathered politicians and statesmen who’s political wranglings and vainglory diminish them in Orpen’s eyes.

Orpen is appointed Knight Commander of the Order of the British Empire in 1918 and is elected an associate of the Royal Academy of Arts in 1919.

Orpen becomes seriously ill in May 1931, and, after suffering periods of memory loss, dies at the age of 52 on September 29, 1931, in South Kensington, London, of liver and heart failure. He is buried at Putney Vale Cemetery in southwest London. A stone tablet in the Island of Ireland Peace Park Memorial at Mesen, Belgium, commemorates him. He is posthumously regarded as a facile and prolific, but somewhat superficial, artist who nevertheless achieves great popularity in his day.

(Pictured: “Self-portrait” (1913), oil on canvas by William Orpen, Saint Louis Art Museum)