seamus dubhghaill

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

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Death of Gerard Dillon, Painter and Artist

Gerard Dillon, Irish painter and artist, dies following a second stroke on June 14, 1971.

Dillon is born in Belfast in 1915 or 1916. He leaves school at the age of fourteen and for seven years works as a painter and decorator, mostly in London. From an early age he is interested in art, cinema, and theatre. About 1936 he starts out as an artist.

Dillon’s Connemara landscapes provide the viewer with context, portraits of the characters who work the land, atmosphere and idiosyncratic colour interpretations. At the age of 18, Dillon goes to London, initially working as a decorator. With the outbreak of World War II, he returns to Belfast. Over the next five years he develops as a painter in Dublin and Belfast. His works during this period are more than simple depictions of the life and people around him, they are reactions and interactions in paint.

In 1942, Dillon’s first solo exhibition is opened by his friend and fellow artist, Mainie Jellett, at The Country Shop, St. Stephen’s Green, Dublin. “Father, Forgive Them Their Sins” features depicting his concerns about the new war that had broken out. Despite a growing reputation, he has to return to London in 1944 to work on demolition gangs to restore his finances. In the late 1940s and during the 1950s, he finds himself favouring the town of Roundstone, Connemara. In 1951 he is introduced to Noreen Rice by her piano teacher. She has no formal training and she takes Dillon and George Campbell as her mentors for decades and her work is of a similar surrealistic and primitive style.

In 1958, Dillon has the double honour of representing Ireland at the Guggenheim International, and Great Britain at the Pittsburg International Exhibition. He and his sister, Mollie, have a property on Abbey Road in 1958. They let out part of the house to Arthur Armstrong and they let a flat to Noreen Rice and her brother. He and Noreen tour junk yards to find objects like leather and string that they include in their artwork.

Dillon travels widely in Europe and teaches for brief periods in the London art schools.

In 1967, Dillon suffers a stroke and spends six weeks in hospital. From this time his work changes direction. A notion of imminent death sends his work almost into another world, a realm of dreams and paintings intimating his death. In 1968 he is back in Dublin, where he helps to design sets and costumes for Seán O’Casey‘s play Juno and the Paycock. He continues to paint and also to make tapestries, sitting at his Singer sewing machine.

In 1969, Dillon pulls his artworks from the Belfast leg of the Irish Exhibition of Living Art in purported protest during the Troubles against the “arrogance of the Unionist mob.” However, he does send work to Ulster when he donates work to Sheelagh Flanagan who had organised an exhibition for the relief of victims of the Belfast riots, in October 1969. His picture is hanged alongside the donated works of T. P. Flanagan, William Scott, F. E. McWilliam, Deborah Brown and Carolyn Mulholland as well as more than twenty others. Michael Longley retorts in a further letter, “Belfast needed creativity, it needed people like Gerard Dillon.” During his last years, he is invited to be involved in a children’s art workshop in the National Gallery of Ireland.

Dillon dies of a second stroke at the age of 55 on June 14, 1971. His grave, as requested, is unmarked in Belfast’s Milltown Cemetery. Danlann Gerard Dillon/The Gerard Dillon Gallery in Cultúrlann McAdam Ó Fiaich is named in his honour.

In his biography of the artist, James White briefly touches on the artists homosexuality: “such was his religious feeling that although he was drawn to people of that type, if he once had an encounter I believe that it never occurred again.” The artist’s nephew, Martin Dillon, recalls that after his uncle’s death he found a diary entry describing a homosexual encounter with a sense of guilt, but the author Gerard Keenan insists he was “a very well-adjusted homosexual.” Reihill expands on this, pointing to a probably unrequited love for the painter Daniel O’Neill and also highlighted Dillon’s association with Basil Rákóczi and The White Stag Group‘s Kenneth Hall both strong gay connections. Pictures with both overt and covert references are known.

(Pictured: “Washing Day” by Gerard Dillon)


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Bridget Cleary Burned to Death by Husband

bridget-cleary

Bridget Cleary is burned to death on March 15, 1895, by her husband who believes her spirit has been taken by bad faeries and replaced with a changeling.

Cleary is born Bridget Boland around 1869 in Ballyvadlea, County Tipperary. Bridget meets Michael Cleary in Clonmel in August 1887, where he works as a cooper and she serves as a dressmaker’s apprentice, and they marry a short time later.

After the marriage, she returns to her townland of Ballyvadlea to live with her parents while Michael continues to work as a cooper in Clonmel. During this period of living apart, Bridget’s independence grows and she begins keeping her own flock of chickens and selling the eggs to neighbours. She is also a professional woman which is somewhat unusual for the era and area. She obtains a Singer sewing machine, which is state-of-the-art at the time, and is variously described as a dressmaker and a milliner.

Despite their eight years of marriage, the couple has no children by the time of Bridget’s death. Following the death of Bridget’s mother, the Clearys find themselves responsible for Bridget’s elderly father, Patrick Boland. His residence with the couple enables them to secure a house reserved for labourers. Neither Bridget nor Michael is entitled to this cottage, but as Patrick had been a labourer in his youth, they are able to acquire the best house in the village. However, there is no widespread interest in the house as it is built on the site of a supposed fairy ringfort.

In early March 1895, Bridget becomes ill although her specific diagnosis is unknown. On March 13, more than a week into her illness, a physician visits her home. Her condition is considered sufficiently grave that a priest soon follows to administer last rites. Several friends and family members attend her over the next two days and a number of home remedies are administered including one ritual that anticipates her later demise. Her father and her husband accuse her of being a fairy sent to take Bridget’s place. Urine is thrown on her and she is carried before the fireplace to cast the fairy out. By March 16, rumours begin to circulate that Bridget is missing and the local police begin searching for her. Michael is quoted as claiming that his wife has been taken by fairies. Witness statements are gathered over the ensuing week and, by the time Bridget’s burned corpse is found in a shallow grave on March 22, nine people have been charged in her disappearance, including her husband. A coroner‘s inquest the next day returns a verdict of death by burning.

Legal hearings take place from April 1 to April 6, 1895. The court session begins on July 3. Evidence indicates that Michael attempted to force-feed his wife, throwing her down on the ground before the kitchen fireplace. Bridget’s chemise catches fire and Michael then throws lamp oil on Bridget. Witnesses are unclear as to whether she is already dead by this point. Michael keeps the others away from her body as it burns, insisting that she is a changeling and has been for a week. Michael believes that this will allow him to get his wife back from the fairies.

Michael Cleary is found guilty of manslaughter and spends 15 years in prison.