Marrinan becomes ill with infantile paralysis at the age of five, and as a result is tutored privately. He has no formal training in art but is largely influenced by his reading matter, particularly the American comic strips of Bud Fisher. The variety of facial expressions that Fisher can achieve, with only a pencil, intrigues and inspires him. Likewise, the images evoked by Celtic mythology and religious art also contributes to his visual language, and many hours are spent in the Belfast Museum and Art Gallery studying the paintings in their collection.
Marrinan exhibits with the Ulster Academy of Arts from an address at 524 Donegall Road, Belfast, entering “The Wee Gate, Earl Street, Belfast” (1931) and “The Painter’s Father” and the “Apache” (1934), which is judged “picture of the year.” He last exhibits with a landscape, “Connemara,” along with four other works in 1949.
Marrinan paints and sketches portraits of many notable Irish figures, among which is the charcoal drawing of northern Fenian Robert Johnston (1934; National Gallery of Ireland) and a sketch of the Donegal storyteller Niall Duffy (University College Dublin). His literary portraits include one of Brian Friel. He holds a one-man show in 1951 at 55a Donegall Place, Belfast, where he exhibits a bust of John McLaverty. He takes an interest in sculpture although painting and drawing remain his preferred form of expression. Important commissions are for a memorial portrait (completed 1952) of Éamonn Ceannt for Ceannt Barracks officers’ mess, Curragh Camp, County Kildare, and for a portrait of Vice-brigadier Peadar Clancy for Clancy Barracks, Dublin. He paints two memorial portraits of PresidentJohn F. Kennedy, one of which is in the Irish Club, London.
Marrinan is an honorary member of the Royal Ulster Academy and exhibits with them every year from 1950 onward, showing a portrait of Mrs. Padraig Marrinan in 1967 (no other details of his marriage are known). He is preparing for an exhibition to be held at the Irish Club, London, in 1974, but dies on October 25, 1973, at Tyrone County Hospital in Omagh. He is then living at James Street, Omagh.
(From: “Marrinan, Padraig H.” by Ruth Devine, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “The River Lee, Cork City, Ireland” by Padraig Marrinan, oil on canvas)
Henry is born in Belfast on January 15, 1902, the daughter of the tea merchant George Adams Henry. She attends Mount Pottinger National School, and Victoria College, before expanding her studies at night classes at the Belfast School of Art.
Henry completes an apprenticeship at Clokey Stained Glass Studios founded by Walter Francis Clokey where she is to work for over fifty years designing stained glass windows. Her appointment in the autumn of 1919 comes by a chance visit to Victoria College by the firm’s owner who is seeking a suitable apprentice. She retires from the firm at Easter 1972.
Henry exhibits at the Belfast Art Society for the first time in 1928. She exhibits four works, all landscapes in oil, and then a further two works in the following year. In 1931, she shows a further two works with the successor to the Belfast Art Society, the Ulster Academy of Arts. In 1932, she shows A Derbyshire Village, described by one critic as “a delightful English rural scene.” Between 1931 and 1942 she shows with more than twenty paintings at the Ulster Academy of Arts, exhibiting at each annual show in that time.
Henry has a keen interest in photography from an early age and wins various awards for her photographs. In 1934, she wins the August prize from the Photographic Dealers’ Association for a shot of a child playing with toys in the bath, having received a consolation prize of five shillings in September of the previous year for a shot of a traditional market scene in Boulogne. She goes on to write a regular column for Amateur Photographer throughout the 1930s.
In January 1935, Henry is appointed leader of a local sketching group by the Youth Hostel Association. In December 1935, she is commended for a sketch called River Pool, submitted to a competition judged by James Humbert Craig on behalf of the Youth Hostel Association, presented alongside Port Muckin a show with the sketching group. Maurice Canning Wilks contributes Skernaghan Point, Brown’s Bay to the same show.
The Robinson and Cleaver Art Gallery stages a display of works from Four Ulster Artists in 1936 consisting of paintings from Henry, her sister Marjorie, Theo Gracey and F. H. Hummel. She contributes Green Boat, which she had presented earlier in the year to the Ulster Academy of Arts, and includes Off the Scilly Isles among pictures from Brittany and Bavaria. The reviewer in Belfast’s News Letter refers to her style as “Post-Impressionism.”
In 1937, Henry is elected an Associate of the Ulster Academy of Arts and presents three watercolours to the institution the following year. The exhibition is opened by Oliver St. John Gogarty with participants such as John Luke, Maurice Wilks, James Humbert Craig, Rosamund Praeger and Colin Middleton, who shows three Surrealist works including Angelus.
The Royal Hibernian Academy displays two small works, Flight, 1941 and Lakeside, among an unusually large contingent of Ulster artists in the annual exhibition in the spring of 1942. The Ulster Academy of Arts is united in their commitment to raise funds for the bomb damaged Ulster Hospital for Children and Women in their Spring Exhibition of 1942. Henry displays a sense of humour in her use of black-out paint, roadblocks and air raid shelters in one of the watercolours on show.
Henry is a regular exhibitor with the Water Colour Society of Ireland, and contributes more than one hundred works to their exhibitions between 1943 and 1986.
Henry joins Violet McAdoo in a joint exhibition at the Belfast Museum and Art Gallery in 1944. McAdoo presents with watercolours, however, Henry also presents oils. The paintings are primarily of landscapes but included a number urban scenes.
In 1945, Henry and her sister Margaret join Arthur and George Campbell, Colin Middleton, Gladys and Max Maccabe, Thomas Carr, Maurice Wilks, James McIntyre and others, in the only official exhibition from the Ulster branch of the Artists’ International Association sponsored by the Council for the Encouragement of Music and the Arts (NI) at the Belfast Museum.
The MacGaffin Gallery at Pottinger’s Entry is the venue for a group exhibition of experimental and modernist works with Nevill Johnson, Aaron McAfee and the MacCabes in 1946, where Henry exhibits seven paintings. Quayside is one of three pictures that she presents at the Ulster Academy in 1946. She also shows it with the Water Colour Society of Ireland in the following year and at CEMA’s Some Ulster Paintings exhibition in that same year.
In 1946, the Council for the Encouragement of Music and Art (CEMA) purchases a painting by Henry, in addition to works by other contemporary Ulster artists. Twenty-four of the works from the CEMA collection, including her painting, are later presented at their Donegall Place gallery in 1954.
Henry debuts at the 1948 Irish Exhibition of Living Art with one painting and returns in each of the subsequent ten years with a total of 20 paintings. She is also elected as an Honorary Academician of the Ulster Academy of Arts in 1948.
Henry displays one work, Harbour, Northern Ireland, with Violet McAdoo at the 88th exhibition of the Society of Women Artists at the Royal Institute Galleries in London during the summer of 1949. Just a few months later her work is back in London for the United Society of Artists annual exhibition where she shows Gossip and Shell and Sail.
Henry is awarded a travel scholarship from the Soroptomists of Belgium in 1957, which enables her to study stained glass in the country. She is the President of Soroptomist Club of Belfast from 1960 to 1961, where she had been a member since its foundation in 1932.
Upon her return from Belgium, CEMA stages a solo exhibition with thirty-five of Henry’s oils and watercolours at their Belfast gallery. The exhibition is arranged at short notice when another is unexpectedly cancelled. Writer Nesca Robb opens the exhibition where it is claimed a new painting technique, “monopainting,” is revealed, described as paint drawn through a gauze over glass. The exhibition includes a ‘Breton’ series, Kerry Tangle, Ship Pattern, Barrack Shapes, Lough Shapes, and Backs. In addition, she displays In the Park, an oil previously seen at the Royal Ulster Academy in 1955 and at the Irish Exhibition of Living Art in 1956, and a second oil, City Lunch Hour, exhibited at the Royal Ulster Academy in 1956.
The Ulster Society of Women Artists is founded in 1957 by Gladys Maccabe with the support of Henry and a number of others at a time when no arts societies are accepting female artists into their ranks. The main objective is to ensure the development of quality art and women artists in Ulster. The organisation begins with ten invited artists. Henry exhibits with the society throughout her life.
Henry receives a mention in the local press referring to her exhibits in the Royal Ulster Academy show of 1959 with Kenneth Jamison comparing her work with that of Deborah Brown, “Olive Henry is more decadent by instinct, a fine formaliser. Her pictures Man and Ropes and Riviera Port, well defined and carefully abstracted, contrast in form with Deborah Brown’s freer Oil Over Tempra,[sic] 1959.”
A group exhibition in 1964 at the New Gallery in Belfast includes work from Henry alongside Neil Shawcross, Max Maccabe, Kathleen Bell, Richard Croft and Helen Ross. Among other works she shows Easter and Long Garden.
In 1981, the Ulster Society of Womens Artists elects Henry as President. A retrospective of her studio works is hosted by the Shambles Gallery in Hillsborough, County Down in 1986, some thirty years since her last solo exhibition. Henry shows at the Royal Ulster Academy Annual Exhibition in 1987 for the last time.
Henry dies on November 8, 1989, at Crawfordsburn, County Down. Her paintings are held in the collections of the Northern Ireland Civil Service, Ulster Museum, Irish Linen Centre & Lisburn Museum, and the Royal Ulster Academy of Arts Diploma Collection.
(Pictured: “The Gardener,” watercolour by Olive Henry)
Born on March 13, 1831, in Lisburn, County Antrim, McCloy is the youngest of five children, born to Peter McCloy, a painter, and his wife Martha Phelan. He studies at the School of Design in Belfast from 1850 to 1851 while serving an apprenticeship in engraving, with J and T Smyth. He then spende a year at the Central School, Somerset House in London before being appointed Master at the Waterford School of Art around 1853, when he also becomes a visiting instructor to several other institutions. In the spring of 1865 he marries his student, the Waterford artist Ellen Lucy Harris, the fourth daughter of a banker named Richard Harris. The dismembered corpse of McCloy’s mother is recovered from the River Suir in September of the same year. She had been missing since the previous November.
McCloy shows just once at the Royal Academy of Arts with a work entitled The Haunt of Meditation in 1859. He exhibits infrequently at the Royal Hibernian Academy between 1862 and 1882, where he displays sixteen works in that time. He displays eleven works in the 1876 Industrial Exhibition at Belfast’s Ulster Hall. In 1880, he shows at Rodman and Company in London where the writer in the Belfast Telegraph indicates that McCloy is becoming a popular artist and is receiving extensive patronage.
After a year-long illness that prevents him from working, McCloy dies in Balham, South London, on October 4, 1904. He is survived by his wife, Ellen, and nine daughters. The Lisburn Museum in his hometown offers a belated retrospective of his work in 1981 to mark the one-hundred fiftieth anniversary of his birth. The exhibition is the first known solo display of McCloy’s work and consists of 58 works. The catalogue for this show is written by Eileen Black and funded by the Arts Council of Northern Ireland.
Drew is born on September 18, 1838, in Victoria Place, Belfast, into the large family of Rev. Thomas Drew, son of a Limerick grocer, and Isabella Drew (née Dalton). He is one of four sons and eight daughters of the couple, although most of the children die young. His sister, Catherine Drew, is a prominent Londonjournalist and an early champion of women’s rights.
Drew is educated in Belfast and in 1854 articled to the Antrimcounty surveyor and architect Sir Charles Lanyon, before moving to work in Dublin in 1862, where he becomes principal assistant to William George Murray. In 1865, he becomes the diocesan architect of the united dioceses of Down, Connor and Dromore. From this point forward, church architecture is his principal activity. He is consulting architect for both St. Patrick’s Cathedral and Christ Church Cathedral in Dublin.
Drew marries Adelaide Anne, sister of William George Murray, in 1871.
Among other projects, Drew is responsible for the design of the Ulster Bank on Dame Street, Rathmines Town Hall and the Graduates’ Building at Trinity College Dublin (TCD). He takes an interest in historic buildings and is the first to draw serious attention to the architectural and historic importance of the St. Audoen’s Church, Dublin’s oldest parish church, in 1866. He produces detailed plans of the church for which he wins the Fitzgerald medal from the Royal Institute of the Architects of Ireland (RIAI), carries out excavations and draws up a paper on the church and its history.
From 1885 to 1892, Richard Orpen works with Drew as a managing assistant. Drew’s most significant work in Belfast is St. Anne’s Cathedral, completed in 1899.
From 1879 onward Drew lives in Gortnadrew, one half of a pair of semi-detached houses of his own design, on Alma Road in Monkstown, County Dublin. For many years he serves as a commissioner of the local township of Blackrock, Dublin. He dies on March 13, 1910, a month after an unsuccessful operation for appendicitis. He is buried in Dean’s Grange Cemetery in the suburban area of Deansgrange in Dún Laoghaire–Rathdown, County Dublin.
Drew is commemorated in a memorial brass in Christ Church Cathedral, Dublin. His wife survives him by three years and in her will bequeaths back to the RIAI the loving cup presented to her husband in commemoration of his knighthood, and to the Belfast Municipal Museum and Art Gallery (Ulster Museum since 1962) an 1852 portrait of his father Thomas. A portrait of Drew by Walter Osborne is held in the National Gallery of Ireland (NGI) in Dublin.
The youngest daughter of Captain Henry Butler, a grandson of the Edmund Butler, 11th Viscount Mountgarret, and Clara Butler (née Taylor) of the Newarke, Leicester, England. Her father is himself an enthusiastic painter, known for his publication South African sketches: illustrative of the wildlife of a hunter on the frontier of Cape Colony (1841). Her early artistic efforts are mainly copies of romantic subjects, but the influence of the London artist Paul Jacob Naftel, with whom she begins corresponding in the early 1880s, proves to be crucial to her artistic development. Studies with William Frank Calderon, an expert in animal painting, are also significant. She subsequently spends the summers of 1894 and 1895 in Newlyn, Cornwall, England, with the Irish artist Norman Garstin, who introduces her to contemporary French painting.
In 1885, Butler makes her first visit to the continent, traveling through France, Switzerland, and Italy. From 1905 to 1914 she travels regularly to Europe, most particularly Aix-les-Bains and Wiesbaden, during which time she produces genre views of French and German villages. After 1914 her life at the family home is interrupted only by visits to London exhibitions. She is best known for her paintings of Kilmurry and its environs, many of which display an interest in botany. Much of her work is dominated by detailed representations of animals and birds, often drawn from photographs and stuffed specimens.
Butler’s career as an exhibitor begins in 1882 with the Irish Fine Arts Society, later known as the Water Colour Society of Ireland (WCSI), with which she has a long association. She exhibits regularly with the society from 1892 onward and is a member of its committee for many years. She is also closely associated with the Dudley Museum and Art Gallery in London. Her work is first shown there in 1888, and on this evidence, she is elected to their society. The purchase by the Chantrey bequest for the Tate Gallery of The Morning Bath for £50 in 1896 is a high point in her career. The first painting by a woman to be selected by the council, its purchase is followed by almost consistently good press reviews for her work. The Athenaeum of May 5, 1897, writes: “The young lady knows how to look at her subjects with the eyes of a well-trained artist.”
Butler also comes to the attention of the American artistic press. She contributes to the portfolio of drawings given by the Society of Lady Artists to Princess May on her marriage to the Duke of York in 1893, while in 1922 her work is included in the portfolio presented to Princess Mary on her marriage. Her patrons include Queen Alexandra, and the grand duke of Hesse, who purchases two of her paintings after she is invited to exhibit in Hesse Darmstadt in 1911. In 1914 she is made a member of the Union Internationale des Beaux Arts, and in 1921 her paintings are shown in Japan. She regularly exhibits with the Belfast Ramblers, the Royal Ulster Academy, the Royal Academy of Arts (RA), the Royal Hibernian Academy (RHA), the Society of Lady Artists, and the Royal Watercolour Society, of which she is made an associate member in 1896, and a full member in 1937.
In her later years, severe rheumatism prevents Butler from painting. She has a keen interest in music. She survives all five of her siblings, and inherits Kilmurry, where she dies on October 11, 1941. She is buried at Thomastown, County Kilkenny. Her paintings are represented in the collections of the National Gallery of Ireland, Dublin City Gallery the Hugh Lane, the Ulster Museum, and the Tate, London.
(From: “Butler, Mildred Anne” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Barton is born in Dublin on April 21, 1856. Her father is a lawyer from Rochestown, County Tipperary, and her mother’s family is from County Galway. Educated privately, she is a liberal in social affairs. Her interests include horse racing. She is cousins with sisters Eva Henrietta and Letitia Marion Hamilton. She begins exhibiting her broad-wash watercolour paintings with the Water Colour Society of Ireland (WCSI) in 1872. She and her sister Emily visit Brussels in 1875, where they receive drawing tuition in drawing and fine art painting under the French artist Henri Gervex. There, along with her close friend Mildred Anne Butler, she begins to study figure painting and figure drawing.
In 1879, Barton joins the local committee of the Irish Fine Art Society. Afterward she trains at Paul Jacob Naftel‘s art studio in London. She, like Butler, studies under Naftel. In 1882, she exhibits her painting Dead Game, at the Royal Hibernian Academy (RHA). In 1884, she exhibits at the Royal Academy of Arts (RA). Later, she shows at the Japanese Gallery, the Dudley Museum and Art Gallery and the Grosvenor Gallery in London. In 1893, she becomes an associate member of the Society of Painters in Water Colours, attaining full membership in 1911.
Barton’s watercolours and townscapes become well known in both Dublin and London. This is helped by her illustrations in books of both cities including Picturesque Dublin, Old and New by Francis Farmer and her own book Familiar London.
(Pictured: “A rest in rotten row” – 1892 watercolour by Rose Maynard Barton. The painting shows a nurse and child resting on Rotten Row, Hyde Park, London.)
Sinclair’s parents are Thomas (1811–1867), merchant and ship-owner, and Sarah Sinclair (née Archer) (1800–1849). His father goes into business with his brother John (1808–1856), setting up a provisions and general merchant store at 5–11 Tomb Street, Belfast. John marries Eliza Pirrie, a relative of the prominent ship builder William Pirrie, 1st Viscount Pirrie. After the death of his father in 1867, Sinclair inherits £35,000 as his mother, brother and sister are all deceased.
In 1876, Sinclair marries Mary Duffin of Strandtown Lodge, Belfast. They have a daughter, Frances Elizabeth Crichton, and a son. She dies in 1879. He marries Elizabeth Richardson in 1882. She is the niece of John Grubb Richardson and the widow of Sinclair’s cousin, John M. Sinclair. They have three sons and two daughters.
Sinclair attends Royal Belfast Academical Institution and Queen’s College Belfast, graduating with a BA with gold medal for mathematics in 1856, and an MA with gold medals in logic, political economy, and English literature in 1859. After his father’s death, he takes over running the family business. He expands and grows it by merging it with another large provisions business with American branches, Kingan & Co. He is related to the Kingans through his cousin Sarah, who is married to the owner, Samuel Kingan.
Despite numerous requests, Sinclair never stands for parliament, instead serving as deputy lieutenant, justice of the peace, president of the Ulsterchamber of commerce in 1876 and 1902, and privy councilor in 1896. Having been a supporter of William Ewart Gladstone, he joins the Ulster Liberal Party in 1868, supporting the land acts of 1870 and 1881. Following the home rule bill of 1886, he convenes a meeting in the Ulster Hall of liberals on April 30, 1886, which passes a resolution in condemnation of the bill. Forming the Ulster Liberal Unionist Association, of which he is chair, he organises the Ulster Convention in Belfast. Held on June 17, 1892, it sees 11,879 Ulster unionists meet to protest home rule. Nine months after the convention, he is appointed to the executive committee of the new unionist clubs, which are founded to protect the union. The defeat of the British Liberal Party in 1895 significantly decreases the threat of home rule, leading to the unionists’ clubs being suspended, and Sinclair returning to his activities in liberal reform. He is the leading Ulster member of the recess committee from 1895, which is founded by Horace Plunkett. He supports Plunkett’s backing of T. P. Gill as secretary of the Irish Agricultural Organisation Society (IAOS) in 1899, in the face of strong protest by conservative unionists.
Despite his unionist politics, Sinclair is nonsectarian, and during his time as chairman of the convocation of the Queen’s University he defends the core non-sectarian principles of the institution and refuses to allow any form of denominational teaching. Through his work with the recess committee, he ensures that the new Department of Agriculture’s vocational and technical education will remain secular.
By 1904 and the devolution crisis, Sinclair sides with conservative unionists, being of the 30 members of the standing committee of the Ulster Unionist Council on its foundation in December 1904. He proposes that all suspended unionist clubs be reestablished in January 1911, with the purpose of increasing their membership and responsibilities. This results in the clubs taking up arms, with over 80 groups drilling by April 1911, which goes on to form the core of the Ulster Volunteers. On September 25, 1911, he is appointed to a five-man commission tasked with writing a constitution for a provisional government of Ulster. He is one of the contributors to the 1912 collection of essays from the unionist party, Against home rule. He identifies the six county Ulster, proffering the idea of a two-nation island, warning that Ulster will never form part of an independent Ireland. Later in 1912, he is tasked with drafting Ulster’s Solemn League and Covenant, a pledge for signatories to oppose and defeat home rule and never recognise an Irish parliament.
Sinclair dies from kidney failure on February 14, 1914, at his home, Hopefield House, Belfast. His funeral procession on February 18 is headed by 200 UVF officers. The Ulster Museum holds a portrait of Sinclair by Frank McKelvey, and QUB holds one by Henrietta Rae (pictured above). A memorial window at Church House, the headquarters of the Presbyterian Church, is unveiled in his memory on June 8, 1915, and there is a Sinclair Memorial Hall opened in his honour on September 10, 1915. A blue plaque is erected to him on the Duncairn Centre for Arts & Culture.
The Sinclair Ward in the Royal Victoria Hospital, Belfast, is originally funded by Sinclair’s father, in honour of his wife Sarah under the Sinclair Memorial Fund. The surgeon and politician Thomas Sinclair is also a relative.
Charles Brady, American-born painter who spends most of his life in Ireland, dies in Dublin on August 1, 1997.
Brady is born on July 27, 1926, in New York City, the son of Arthur Brady, an industrial hardware merchant. He is best known for small-scale paintings of still life and landscape. At the end of World War II, while serving with the United States Navy, he suffers an accident which results in his discharge. As a result of this, he has the opportunity of pursuing further study. In 1948, he enrolls at the Art Students League of New York. Founded in 1875 and distinguished by its progressive approach to art education, it is one of the most important art schools in the United States in the early twentieth century.
Initially, Brady studies design and fashion before studying fine art under John Groth and Morris Kantor. In 1949, he becomes Groth’s assistant. In 1950, his work is included in the exhibition “American Painting 1950,” held at the Metropolitan Museum of Art, New York, where he is employed as a guard at the time. Around this time, he meets artists associated with abstract expressionism such as Franz Kline, Willem de Kooning, and Jackson Pollock, and exhibits with them in exhibitions such as the “9th Street Show” (1951). Four years later, his first solo exhibition is held at the Urban Gallery, New York. By this time, his father, mother, and a younger brother have all died. In 1956 he decides to leave New York and spend some time in Ireland.
On his arrival, Brady bases himself in Lismore, County Waterford, where the landscapes he begins to paint are in contrast to the abstract style he had developed in New York. In May 1956, he joins his aunt and uncle on a tour that include London and Paris. He remains in Ireland until early in 1958 and during this time becomes acquainted with such figures as Camille Souter, Frank Morris and Desmond McAvock. Though he spends the next year in the United States, he soon decides to return to Ireland. In 1959 he is living in Dublin, where, along with artists such as Noel Sheridan and Patrick Pye, he is involved in founding the Independent Artists group. His work is included in the group’s first exhibition in 1960.
Also in 1960, Brady marries Eelagh Noonan, and the couple go to live in Spain. On their return to Ireland in 1961, they settle in Dún Laoghaire, where he begins to produce still lifes of objects such as envelopes and boxes painted in muted tones. Though figurative, the painterly quality of these works and the way in which they assert the flat nature of the picture plane suggest something of his experience of postwar American abstract art. Soft, hazy light, another key characteristic of his work, can also be seen in his paintings of Sandymount Strand, which might be compared with the work of Nathaniel Hone the Younger, whose work Brady had seen on his first trip to Ireland. He also works in other media, producing lithographs and, from the mid-1980s, small bronzes of such mundane objects as discarded bus tickets.
From 1976 to 1983 Brady lectures in painting at the National College of Art and Design. In 1981 he becomes a member of Aosdána and in 1994 he is elected an honorary member of the Royal Hibernian Academy (RHA). He exhibits regularly in Ireland at venues such as the RHA. He receives a number of awards including the P. J. Carroll award at the Irish Exhibition of Living Art as well as the Douglas Hyde Gold Medal and the landscape award at the Oireachtas exhibitions of 1973 and 1989 respectively.
(From: “Brady, Charles” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Charles Brady, 1967,” oil on board by Koert Delmonte)
Hamilton is the daughter of Charles Robert Hamilton and Louisa Caroline Elizabeth Brooke. She attends Alexandra College. She and her sister Eva are great-granddaughters of the artist Marianne-Caroline Hamilton, and cousins of watercolouristRose Maynard Barton. The sisters’ father can only afford one dowry, so the sisters remain unmarried, with their artistic careers helping to support the household. Both she and her sister study at the Dublin Metropolitan School of Art under William Orpen. She studies enameling there also, winning a silver medal in 1912 by both the School and the Board of Education National Commission. Her work shows elements of Art Nouveau, foreshadowing her later modernist leanings. She also studies in Belgium with Frank Brangwyn and the Slade School of Fine Art.
Hamilton first exhibits in 1902 and goes go on to become a prolific painter of the Irish countryside, exhibiting more than 200 paintings at the Royal Hibernian Academy (RHA). Both sisters travel widely in Europe, with Letitia being influenced by modern European artistic trends of the early 20th-century. She is internationally exhibited, Royal Academy of Arts, Burlington Gallery and Kensington Art Gallery in London, in Scotland, and Paris. Her exposure to impressionism comes from studying with Anne St. John Partridge in France. Her style matures in the 1920s. That year, she is one of the founding members of the Society of Dublin Painters, along with Paul Henry, Grace Henry, Mary Swanzy, and Jack Butler Yeats. It is around this time that she changes her signature from MH (May Hamilton) to LMH, reflecting her full name. She works on small oil sketches, which later develop into finished works. Her style is rapid, with loose, fluid brush strokes. In the early 1920s, she travels to Venice, painting on a gondola studio loaned to her by artist and friend Ada Longfield. The works from this trip are considered among her best, with her exploring light effects, pastel shades, and strong outlines. She later employs these elements into her works on Irish landscapes.
Hamilton becomes a member of the Royal Hibernian Academy in 1943. In 1948, she becomes the last person to win a bronze medal at the art competitions at the London Olympic Games. She serves as president of the Society of Dublin Painters in the late 1950s. Despite her failing eyesight later in life, she continues to paint, mounting her final exhibition in 1963, a year before her death at the age of 86 in Dublin on August 11, 1964. She is also a committee member of the Water Colour Society of Ireland.
D’Arcy is born to a Russian-Jewish mother and an Irish Catholic father. She works in small theatres in Dublin from the age of fifteen and later becomes an actress.
D’Arcy is married in 1957 to English playwright and author John Arden. They write several plays together which are highly critical of the British presence in Ireland. They settle in Galway in 1971 and establish the Galway Theatre Workshop in 1976. The couple has five sons, one of whom predeceases his mother.
The couple writes a number of stage pieces and improvisational works for amateur and student players, including The Happy Haven (1960) and The Workhouse Donkey (1964). She writes and produces many plays, including The Non-Stop Connolly Show (1977).
D’Arcy has also written a number of books, including Tell Them Everything (1981), Awkward Corners (with John Arden, 1988), and Galway’s Pirate Women: A Global Trawl (1996).
As an activist, in 1961, D’Arcy joins the anti-nuclear Committee of 100, led by Bertrand Russell. In 1981, her peace-activism results in her incarceration in Armagh Jail, after defacing a wall at the Ulster Museum. Her book Tell Them Everything (Pluto Press, 1981) tells the story of her time during the Armagh and H-Blockdirty protests and is one of the earliest accounts about the Armagh women, their republicanism and imprisonment.
D’Arcy also directs Yellow Gate Women (2007), a film about the attempts by women of Greenham Common Women’s Peace Camp to outwit the British and United States military at RAF Greenham Common with bolt cutters and legal challenges. Challenging censorship since 1987, she runs a women’s kitchen pirate radio from her home in Galway.
In 2011, D’Arcy refuses to stand for a minute’s silence to honour Police Service of Northern Ireland (PSNI) officer Ronan Kerr, killed by dissident republicans, at an Aosdána meeting. Her actions are deliberate, she tells the media afterwards, which attracts fierce criticism of her perceived support for armed republican groups in Northern Ireland.
Along with Niall Farrell, D’Arcy is arrested in October 2012 for scaling the perimeter fence of Shannon Airport, in protest at the use of the airport as a stopover for U.S. military flights. As a consequence of her trespassing on airport property, she is imprisoned in 2014 after she refuses to sign a bond saying that she will not trespass on non-public parts of Shannon Airport.
seamus dubhghaill 