seamus dubhghaill

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

Tag Archives: Tapestry


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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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Birth of Evelyn Gleeson, Designer & Co-founder of Dun Emer Press

Evelyn Gleeson, English embroidery, carpet, and tapestry designer, is born on May 15, 1855, in Knutsford, Cheshire, England. Along with Elizabeth and Lily Yeats, she establishes the Dun Emer Press.

Gleeson is the daughter of Irish-born Edward Moloney Gleeson, a medical doctor, and Harriet (née Simpson), from Bolton, Lancashire. Her father has a practice in Knutsford but on a trip to Ireland he is struck by the poverty and unemployment and, with the advice of his brother-in-law, a textile manufacturer in Lancashire, he founds the Athlone Woollen Mills in 1859, investing all his money in the project. The family moves to Athlone in 1863, but Gleeson is educated in England, where she trains as a teacher. She later studies portraiture in London at the Atelier Ludovici from 1890–92. She goes on to study design with Alexander Millar, a follower of William Morris, who believes she has an exceptional aptitude for colour-blending. Many of her designs are bought by the exclusive Templeton Carpets of Glasgow.

Gleeson takes a keen interest in Irish affairs and, as a member of the Gaelic League and the Irish Literary Society, mixes with the Yeats family and the Irish artistic circle in London and is inspired by the Gaelic revival in art and literature. She is also involved in the suffrage movement and is chairwoman of the Pioneer Club, a women’s club in London. In 1900, an opportunity arises to make a practical contribution to the Irish renaissance and the emancipation of Irish women. She is suffering from ill-health, but her friend Augustine Henry, botanist and linguist, suggests she move away from the London smog to Ireland and open a craft centre with his financial assistance. She seizes the opportunity and discusses her plans with her friends the Yeats sisters, Elizabeth and Lily, who are talented craftswomen and have direct contact with William Morris and his followers. They have no money to contribute to the venture but are enthusiastic and can offer their skills and provide contacts. She seeks advice from W. B. and Jack Yeats, from Henry, who loans her £500, and from her cousin, T. P. Gill, secretary of the Department of Agriculture and Technical Instruction.

During the summer of 1902 Gleeson finds a suitable house in Dundrum, County Dublin, ten minutes from the railway station. The house, originally called Runnymede, is renamed Dun Emer, after the wife of Cú-Chulainn, renowned for her craft skills. The printing press arrives in November 1902, and soon three craft industries are in operation. Lily Yeats runs the embroidery section, since she had trained with Morris’s daughter May. Elizabeth Yeats operates the press, having learned printing at the Women’s Printing Society in London. Gleeson manages the weaving and tapestry and looks after the financial affairs of the industries. W. B. Yeats acts as literary adviser, an arrangement that often causes friction, and Gleeson’s sister, Constance McCormack, is also involved.

Local girls are employed and trained, and the industries seek to use the best of Irish materials to make beautiful, high-quality, lasting products of original design. Church patronage accounts for most of their orders and, in 1902–03, Loughrea cathedral commissions twenty-four embroidered banners portraying Irish saints. They also make vestments, traditional dresses, drapes, cushions and other items, all beautifully crafted and mostly employing Celtic design. The first book published is In the Seven Woods (1903), by W. B. Yeats, cased in full Irish linen.

Gleeson is in demand as an adjudicator in craft competitions around the country and at Feis na nGleann in 1904 she praises the workmanship of the entries but is critical of the lack of teaching in design. She gives lectures and tries to raise the status of craftwork from household occupation to competitive industry. There are tensions with the Yeats sisters, who complain that she is bad-tempered and arrogant. In truth she had taken on too much of a financial burden, even with the support of grants, and she is anxious to repay her debt to Augustine Henry, which he is prepared to forego. The sisters snub her and omit her name in an interview about Dun Emer in the magazine House Beautiful. Millar, her design teacher in London, likens the omission to Hamlet without the prince. In 1904, it is decided to split the industries on a cooperative basis: Dun Emer Guild Ltd. under Gleeson and Dun Emer Industries Ltd. under the Yeats sisters.

Work continues, and the guild and industries exhibit separately at the Royal Dublin Society (RDS) and other craft competitions. In 1907, the National Museum of Ireland commissions a copy of a Flemish tapestry. It takes far longer than anticipated to complete, but the result is beautiful and is exhibited at the Arts and Crafts Society of Ireland in 1910. The guild wins a silver medal at the Milan International exhibition in 1906. The guild and industries both show work at the New York exhibition of 1908. The guild alone shows work in Boston. By now cooperation has turned to rivalry, and there is a final split as the Yeats sisters leave, taking the printing press with them to their house in Churchtown, Dublin. Gleeson writes off a debt of £185 owed to her, on condition that they do not use the name Dun Emer.

The business thrives at Dundrum, with her niece Katherine (Kitty) MacCormack and Augustine Henry’s niece, May Kerley, assisting with design. Later they move the workshops to Hardwicke Street, Dublin. In 1909, Gleeson becomes one of the first members of the Guild of Irish Art Workers and is made master in 1917. The Irish Women Workers’ Union commissions a banner from her about 1919, and, among numerous other notable successes, a Dun Emer carpet is presented to Pope Pius XI in 1932, the year of the Eucharistic Congress of Dublin.

Gleeson dies at the age of 89 at Dun Emer on February 20, 1944, with Kitty carrying on the Guild after her death. The final home of Dun Emer is a shop on Harcourt Street, Dublin, which finally closes in 1964.

(From: “Gleeson, Evelyn” by Ruth Devine, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of Cecil King, Painter & Collector

Cecil King, painter and collector, is born on February 22, 1921, at Rathdrum, County Wicklow.

King is the son of Henry King, businessman, of Rathdrum, and Susan King (née Crowe). He is educated at the Church of Ireland Ranelagh School, Athlone, and at Mountjoy School, Clontarf, Dublin (1936–39). Subsequently he joins the printing firm of W. & S. McGowan in Dundalk, where he goes on to become a director. During the 1940s his interest in amateur drama leads him to take classes at the Gaiety School of Acting in Dublin, where his fellow students include Milo O’Shea and Eamonn Andrews. Around this time, he is also involved in An Óige (the Irish Youth Hostel Association), in which he serves as honorary national secretary and honorary treasurer. This involvement leads him to travel extensively from the late 1940s around Europe, where he visits many major art museums and galleries.

King begins to acquire works of art, by both European and Irish artists, and by the mid-1950s he has amassed one of the most important collections of modern art in Ireland. Around 1954 he himself begins to paint, under the guidance of Barbara Warren and the English artist Neville Johnson. In his early work he focuses on urban scenes, often based on the area of Ringsend, Dublin, where he uses subdued tones to produce poetic images of a sombre mood. Even here his interest in the formal qualities of painting – such as the flatness of the picture surface and the juxtaposition of areas of colour on it, which becomes a defining feature of his art – is evident. In 1964 he leaves his successful business career behind in order to devote himself entirely to art, a bold move considering the limited audience for modern art that exists in Ireland at the time. In his own words he recalls how “Painting was what I wanted to do, I realised I didn’t need a car. I could do without an awful lot of things.” (Sunday Independent, November 7, 1982)

By this time, King is working in a fully abstract style. However, he still draws his inspiration from the external world, particularly the milieu of the circus. A painting such as Trapeze (1976; Allied Irish Bank collection) shows how he responds to acrobatic performance, not in any literal or figurative sense, but to the tensions and balances inherent within it. The overall effect is to convey to the viewer the essence of anticipation of the performance. Indeed, his works can create an almost physical sense of involvement on the part of the viewer. This is especially true of his Berlin Suite, a series of screen-prints produced as a result of a visit to East Berlin and published by Editions Alecto of London (1970). He is also inspired to produce a number of paintings on this theme of the claustrophobia of the divided city. Ultimately, he aspires to create works which, with their economy and restraint, achieve a meticulously balanced harmony. This concern leads him, in such works as the Baggot Street Series, to move away from even the most veiled figurative references, evidence for the fact that he constantly strives to further his artistic explorations.

King often works seven days a week. This quiet determination contributes in no small part to the international standing he soon achieves, as does his prolific record as an exhibitor. Writing a foreword to an exhibition of his work at Kilkenny in 1975, the critic William Packer finds that King’s art “confounds the expectations we might have of Irish art, for it is far from local in ambition, accomplishment, and seriousness.” He mounts over twenty-five one-man exhibitions and contributes to a large number of group shows in Ireland and abroad. A significant proportion of his output is to be found in galleries in Europe and the United States, including the Museum of Modern Art, New York, and the Tate Gallery, London. He is also represented in the major public and corporate collections in Ireland, such as the Irish Museum of Modern Art, Ulster Museum, Trinity College Dublin (TCD), Crawford Municipal Gallery, Dublin City Gallery The Hugh Lane, Arts Council, Aer Lingus, Bank of Ireland, Allied Irish Bank, and ESB. In fact, King, with his hard-edge abstract style, is one of the very few artists working in Ireland at the time whose work is comparable to that of the major (principally American) international exponents of abstraction. The term “hard-edge,” applied to King’s style, may however belie the subtlety he could achieve in terms of his handling of colour and texture. This is particularly true of his works in the media of pastel and tapestry, while his last paintings show a tendency towards more expressive brushwork and a more complex approach to colour.

King enjoys a happy relationship with Oliver Dowling from 1960 to the time of his death, at Dún Laoghaire, County Dublin, on April 7, 1986, having suffered a heart attack just three days before an exhibition of his work is due to open in Dublin at the Oliver Dowling Gallery. His legacy is not alone artistic: he also makes a significant contribution to the promotion of modern art in Ireland in his capacity as a member of the organising committee for the Rosc exhibition since its inception in the 1960s, where his wide knowledge of international art is much respected. A member of Aosdána, he twice serves as commissioner for the Department of Foreign Affairs cultural committee. He is also generous in his encouragement of young artists, whose work he regularly adds to his own collection.

(From: “King, Cecil” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, May 2012 | Pictured: Abstract, Oil on Canvas by Cecil King)