Modern Ireland in 100 Artworks

Description

100 artworks have been chosen for this beautifully illustrated book to represent each year from 1916-2015. They trace the story of Ireland's creative output from the revolutionary period until today. The story that emerges through these 100 works is not one of artists gradually finding their place of honour in the republic. Especially in the visual arts it is, on the contrary, a story of never-ending argument, of works that are disliked, rejected, fought over, even painted over. Instead of the artists supporting the state and the state supporting the artists, it is a case of the artists challenging and upsetting the community and the community looking warily at the artists. This is what makes Irish art, at its best, so edgy, so embattled and so vital. They were compiled by the Royal Irish Academy in partnership with The Irish Times. The visual artworks were chosen from the RIA's research project the five volume publication, Art and Architecture of Ireland. Most artists and writers featured in the series have been profiled in the RIA's Dictionary of Irish Biography which outlines the lives at home and overseas of prominent men and women born in Ireland, north and south, and the noteworthy Irish careers of those born outside Ireland.

Sujets

• Histoire
• 21st century
• Ireland
• 20th century
• Stephen Ireland
• History

Informations

• Publié par: Royal Irish Academy
• Date de parution: 01 octobre 2016
• Nombre de lectures: 0
• EAN13: 9781908997029
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

Modern Ireland in 100 artworks
Edited by Fintan O Toole
Associate editors Catherine Marshall and Eibhear Walshe
Modern Ireland in 100 artworks
First published 2016
Royal Irish Academy, 19 Dawson Street, Dublin 2 www.ria.ie
Text copyright the RIA, The Irish Times and the writers
ISBN 978-1-908997-02-9
All rights reserved. The material in this publication is protected by copyright law. Except as may be permitted by law, no part of the material may be reproduced (including by storage in a retrieval system) or transmitted in any form or by any means; adapted; rented or lent without the written permission of the copyright owners.
British Library Cataloguing in Publication Data. A CIP catalogue record for this book is available from the British Library.
Copyeditor: Maggie Armstrong Design: Fidelma Slattery Picture research: Niamh Mongey Index: Eileen O Neill
Printed in Italy by Printer Trento
10 9 8 7 6 5 4 3 2 1
Introduction
Editor s note
1916 A portrait of the artist as a young man JAMES JOYCE
1917 Men of the west SE N KEATING
1918 Seacht mbua an ir Amach P DRAIC CONAIRE
1919 The signing of peace in the Hall of Mirrors, Versailles, 28th June 1919 WILLIAM ORPEN
1920 The lobster fisherman at dusk PAUL HENRY
1921 Back to Methuselah GEORGE BERNARD SHAW
1922 Ulysses JAMES JOYCE
1923 Decoration MAINIE JELLETT
1924 The eve of St Agnes HARRY CLARKE
1925 Monument to William Gladstone JOHN HUGHES
1926 The plough and the stars SEAN O CASEY
1927 Ardnacrusha hydroelectric scheme THOMAS M C LAUGHLIN AND ESB
1928 The Sam Maguire cup HOPKINS & HOPKINS
1929 An tOile nach TOM S CRIOMHTHAIN
1930 High treason, Court of Criminal Appeal: the trial of Roger Casement SIR JOHN LAVERY
1931 Guests of the nation FRANK O CONNOR
1932 Skywriting over Dublin EUCHARISTIC CONGRESS
1933 The winding stair W.B. YEATS
1934 Devoted ladies MOLLY KEANE
1935 The death of C chulainn OLIVER SHEPPARD
1936 Katie Roche TERESA DEEVY
1937 Come gather round me Parnellites JACK B. YEATS
1938 Pray for the wanderer KATE O BRIEN
1939 Irish Pavilion, New York World s Fair MICHAEL SCOTT
1940 Tinkers encampment: the blood of Abel JACK B. YEATS
1941 An b al bocht MYLES NA GCOPALEEN
1942 The great hunger PATRICK KAVANAGH
1943 The Three Graces GABRIEL HAYES
1944 Prayer before birth LOUIS M AC NEICE
1945 The demon lover and other stories ELIZABETH BOWEN
1946 The Becker wives MARY LAVIN
1947 Bust of James Connolly HILARY HERON
1948 Bus ras MICHAEL SCOTT
1949 Cr na cille M IRT N CADHAIN
1950 Island people GERARD DILLON
1951 A family LOUIS LE BROCQUY
1952 En attendant Godot SAMUEL BECKETT
1953 Cape and gown SYBIL CONNOLLY
1954 The quare fellow BRENDAN BEHAN
1955 Aer Lingus summer timetable GUUS MELAI
1956 Margadh na saoire M IRE MHAC AN TSAOI
1957 Irisches Tagebuch HEINRICH B LL
1958 Girl carrying grasses PATRICK SCOTT
1959 Sive JOHN B. KEANE
1960 Sheela-na-gig paintings BARRIE COOKE
1961 A whistle in the dark TOM MURPHY
1962 r r dhear il M IRT N DIRE IN
1963 The barracks JOHN M C GAHERN
1964 Wolfe Tone EDWARD DELANEY
1965 Cork County Hall PATRICK M C SWEENEY
1966 D Luain EOGHAN TUAIRISC
1967 Aspen 5+6 BRIAN O DOHERTY
1968 Viva Che JIM FITZPATRICK
1969 The t in THOMAS KINSELLA AND LOUIS LE BROCQUY
1970 Troubles J.G. FARRELL
1971 L nte liomb SE N R ORD IN
1972 Structure MICHAEL KANE
1973 Da HUGH LEONARD
1974 Christmas Eve MAEVE BRENNAN
1975 North SEAMUS HEANEY
1976 Northern Ireland, the 1,500th victim ROBERT BALLAGH
1977 Madonna Irlanda MICHEAL FARRELL
1978 Jim Larkin statue OIS N KELLY
1979 Faith healer BRIAN FRIEL
1980 In her own image EAVAN BOLAND
1981 Belfast after Pollaiuolo CLIFFORD RAINEY
1982 The hunt by night DEREK MAHON
1983 Bligeard sr ide MICHAEL DAVITT
1984 Celebration: the beginning of labour PAULINE CUMMINS
1985 Observe the sons of Ulster marching towards the Somme FRANK M C GUINNESS
1986 Reading the sky PAULA MEEHAN
1987 Pentecost STEWART PARKER
1988 The great wall of Kinsale EIL S O CONNELL
1989 Self portrait TONY O MALLEY
1990 Madoc PAUL MULDOON
1991 Untitled: Philippe VACHER JAMES COLEMAN
1992 The butcher boy PATRICK M C CABE
1993 Paddy Clarke, ha, ha, ha RODDY DOYLE
1994 The country blooms, a garden and a grave ALANNA O KELLY
1995 City drawings KATHY PRENDERGAST
1996 Portia Coughlan MARINA CARR
1997 Teacup DOROTHY CROSS
1998 Cead aighnis NUALA N DHOMHNAILL
1999 True nature WILLIE DOHERTY
2000 N 3 TOM DE PAOR
2001 Tawnanasool HUGHIE O DONOGHUE
2002 The Agreement SHANE CULLEN
2003 New sexual lifestyles GERARD BYRNE
2004 The four directions ALICE MAHER
2005 The sea JOHN BANVILLE
2006 Mothers and sons COLM T IB N
2007 X-PO DEIRDRE O MAHONY
2008 Molly Fox s birthday DEIRDRE MADDEN
2009 New faculty at Bocconi University GRAFTON ARCHITECTS
2010 Room EMMA DONOGHUE
2011 Laundry LOUISE LOWE
2012 Commonage CULTURSTRUCTION, ROSIE LYNCH AND HOLLIE KEARNS
2013 Parallax SIN AD MORRISSEY
2014 Saw Swee Hock student centre, London School of Economics O DONNELL + TUOMEY
2015 Silent moves AIDEEN BARRY, EMMA O KANE, RIDGEPOOL TRAINING CENTRE AND SCANN N TECHNOLOGIES
Picture credits
Selected bibliography
Publisher s note
Introduction
Can modern Ireland be represented in 100 artworks? This was the exciting challenge set to us by the Royal Irish Academy and The Irish Times , as a unique way of marking a century of creativity in a year of commemorations. Artists, both literary and visual, were crucial during this tumultuous period, in which we were remaking and interrogating our sense of ourselves as Irish-north and south, women and men, poets, painters, architects, practitioners-across a wide range of disciplines. Our project, therefore, was to map a century of creativity by selecting 100 artworks made from 1916 to 2015, using each year to gradually assemble a cumulative sense of an evolving creative culture, which in turn mirrored the modernisation of the state. This proved to be a demanding and thought-provoking project for everyone involved coming from our varied disciplines.
This book takes as its starting point 1916, the year of the Easter Rising. It seems a good place to begin to look at the emergence of both Modernism and nation-building; the emergence of an independent nation, the first wedge in the cracking open of a great empire; and a period during which scientific and social change advanced at a pace never experienced before. The trial and execution of Roger Casement, one of the active participants in the Rising, led directly to two creative responses in that year, one literary and theatrical and the other a painting, not widely known until relatively recently. These were the speech offered by George Bernard Shaw, the country s most famous living playwright, to Casement to be delivered at his appeal trial against his conviction and sentence to death, and a painting discussed in the entry for 1930 of that same event by Sir John Lavery, one of the country s most acclaimed painters. Shaw and Lavery were not the only writers and artists to respond to the same events in the unfolding history from 1916 onward, yet curiously, Modern Ireland in 100 artworks is a unique project within Irish cultural history. It is the first occasion on which the literary and visual arts were jointly tasked with representing an important and sustained period in the country s history.
The past is usefully narrated and analysed by historians but no matter how comprehensive their work is, the story of a people can never be told without its artistic representation, without what the painter Hughie O Donoghue referred to as the truth as it is felt . For this reason the invitation issued by the Academy and The Irish Times was not only challenging but one that carried a big responsibility. Our concern was not just to represent our various and separate disciplines but also to reflect the imaginative and emotional life of the country during the period of our task. The structure imposed by the brief required us to select one work to represent each year of the century while at the same time working to provide a balance between the disciplines. Such a balance has not been a feature of Irish cultural history to date. The chronological structure meant that for some years we were spoiled for choice, with an abundance of literature and art; for other years we were hard-pressed to find suitable material from either discipline. Where this happened we decided that the quality of the representation outweighed the need for an equality of numbers between the visual and literary. Thus, we did not achieve the perfect 50-50 balance we would have liked between, for instance, the visual and the literary arts, or between the male and the female, but we accepted that an imbalance was part of the historical narrative. To have played god with that was not a valid option.
The task initiated a discussion about the relationship between the interconnecting and the disparate areas of the visual arts and literary production over the last 100 years. Usefully, the constraints of the time-frame sharpened our discussion and made us focus on our sense of what should best represent both the many artists working throughout this period and also the developing history. It was an exciting process because it brought those who work in literary studies into close and valuable discussion with scholars of the visual arts, as we considered the underlying connections between various forms and expressions of the imagination in modern Ireland. We hope that this final selection, the result of much argument and counter-argument, gives us a revealing and illuminating account of the progressive development of the arts in Ireland over 100 years, not least because writers and visual artists are, for the first time, placed side by side in such a context. Of course there have been collaborations between writers and artists in the past in Ir