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IRISH PRESS PHOTO

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He Left Us Immortal Sculptures
ALBERT G. POWER, R.H.A.,
eminent Irish sculptor, died in Dublin last
week.
IT was altogether in the nature of things that Albert Power should model the head of James Stephens. If James Stephens has written verse and prose aere perennius, there was also a vein of poetry in Albert Power's marble and bronze rich enough to challenge immortality. They were both Dublin born, as true to Dublin as our quick-glancing town sparrows. They both had the same lovable simplicity, twisted with humorous quirks. They had the same love of children and animals, with movements as instinctive as their own. James Stephens' "Mary-Make-Believe" is own sister to Albert Power's far too few, but most charming, little figures of children and their young mothers. Stephens' "Seumas Beg" is one of Albert's dream family, and one of the poet's menagerie of squirrels and rabbits has run away to the base of the statue of Padraic O Conaire in Galway. Stephens' "Salmon of Knowledge" frolics in the sculptor's Connemara marble, and the grotesques in the Crock of Gold have nothing on the extravagant action of Albert Power's group, "The Bully."
Albert Power was working on this clay model in or about 1918 when James Stephens occupied Brinsley MacNamara's place in the National Gallery, and the sittings were in one of the studios of the School of Art, where his friend and master, Oliver Sheppard, was Professor of Sculpture. In that year he modelled two other poets — a superbly-characterised head of W. B. Yeats and another bronze of Dunsany, a spare, close-cropped, soldierly head remarkably different from the poet-peer's present aspect.
In 1920 he had passed from these men of letters to another series of portrait busts by which his name will long live. In the autumn of that year Oliver Gogarty carried him over to London in tragic circumstances to model secretly by the martyr's bedside in Brixton Prison,
Albert Power modelling the bust of James Stephens at the School of Art.
in a small piece of wax, the infinitely touching head of Terence MacSwiney, as noble in its pathos as Burton's drawing of Clarence Mangan. A few months later he was back again in London, this time on the initiative of Kathleen Fox, to share a brief sitting with her when she was painting her portrait of Dr. Mannix, which now belongs to the Dublin Municipal Gallery. Power's bust is now in Melbourne and is a masterwork. Dr. Mannix had been denied landing in his own country. One may condone the act which resulted in
this presentment of the permer Mercier and Faulhaber.
The series so begun includes many others, from Tom Kettle to a recent admirable bust of Mr. de Valera. It closed—not inappropriately—with his completed model of Thomas Davis, for which he had just received the commission from our Government, and with his sketch model for the intended memorial to Father O'Growney for Navan. They make a fitting close to a life as dedicated to Ireland and to art as that of John Hogan.
C. P. CURRAN.

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R.H.A. President's
Sudden Death
MR. DERMOD O'BRIEN, President of the Royal Hibernian Academy of Arts since 1910—he had held the office longer than any President since the Academy's establishment in 1823—died suddenly early yesterday morning at his residence, 65 Fitzwilliam Square, Dublin. He was 80 years of age, and a grandson of William Smith O'Brien, the Young Irelander.
Mr. O'Brien was in his usual good health and on Wednesday he attended a meeting of the National Gallery of Ireland of which he was a Governor.
The night before, he was planning to go to Belfast on work for the Haverty Trust of which he was a trustee.
Painter, patron of the arts and friend of young artists, he succeeded Sir Thomas Drew as President of the Academy. He became an associate of the Academy in 1905, and a full member two years later.
Mr. O'Brien was enrolled an honorary freeman of the city of Limerick in February, 1936, in recognition of his services to art and his gift to the city of a portrait painted by him of the Bard of Thomond (Michael Hogan).
Returning thanks on that occasion, he said: "I feel I am a very good Irishman and that is much better than being a good painter."
On Tuesday last Mr. O'Brien discussed with an IRISH PRESS reporter a suggestion that another move should be made to seek the return to Dublin of the Lane pictures.
His comment was:—"The return of the Lane pictures is a matter for the British Government. It is for the Irish Government to approach the British Government, but I do not think that this is the proper time to do so."
Mr. O'Brien was eldest son of Mr. Edward W. O'Brien, who was eldest son of William Smith O'Brien. He was reared at Mount Trenchard, Foynes, and later lived at Cahirmoyle, Ardagh, Co. Limerick.
HIS CAREER.
Educated at Harrow and Trinity College, Cambridge, he went to Rome and later studied art in Antwerp, where he was a silver medalist under Charles Verlat. In 1890, he went to Julian's studio in Paris.
Three years later he went to the Trafalgar Studios, Chelsea, and came to Dublin in 1901, where he spent some time before going to live in his native Limerick. He finally came to Dublin in 1920.
His first commission was a portrait of Aubrey de Vere, the
Member of the Committee which advised the Free State Government on the designs for the Irish Coinage, he was President of the Royal Irish Academy of Music.
He was a former President of the Irish Agricultural Wholesale Society, and worked with Sir Horace Plunkett in the co-operative movement.
MR. DERMOD O'BRIEN
He served on the Vice-Regal Commission on Milk in Ireland in 1912-13, and on the Milk Distribution Committee, 1915-16, and was Deputy Lieutenant for Co. Limerick, becoming, in 1916, High Sheriff for Limerick.
He was, in 1920, associated with the Irish Dominion League, which advocated proportional representation for Ireland and co-operative organisation.
Mr. O'Brien was predeceased three years ago by his wife, a daughter of the late Sir Philip Crampton Smyly, M.D. They were married in 1902.
He is survived by their five children, Dr. Brendan O'Brien, Dublin; Major David O'Brien, British Army Veterinary Corps; Mrs. Bruce Flegg (wife of the English tenor), Major H. Donough O'Brien, British Army Medical Corps, and Mrs. Brigid Ganly, R.H.A., Dublin.
TRIBUTES
Following tributes were paid yesterday to Mr. O'Brien:—
Mr. James O'Scator, Secretary of the Academy: "He was a solid and sincere painter. Nobody was more generous to the rising artist. He bought their pictures and helped their exhibitions in every possible way."
Mr. John Keating, R.H.A.—"He was a very hospitable and generous man, liberal with his money and his time."
Lady Glenavy—"Mr. O'Brien was a great, Christian gentleman. His death is a terrible loss."
Mr. L. O'Callaghan, architect, Dublin—"I had no greater friend. His generosity was extraordinary. Few have any conception of how much Mr. O'Brien did to help young artists in every possible way. He did more, met, and very often he got little credit for it."

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Tarbeam som Frie
marked anyo.
Tarbeam som
Spur Smooth —
" The common street climbs
up against the sky
Grey meeting grey —
Beautiful folder flow
above the chimney
Lack morning
3/12/40 Holdpink

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DUBLIN AND THE LANE PICTURES
L. X. 22
To the Editor "Irish Independent."
Sir—All artists and intelligent visitors are agreed that the collection of modern pictures in the Municipal Gallery in Harcourt St. is most unhappily housed.
It is always with a feeling akin to shame that I take distinguished strangers to see this collection, which is still, in spite of the rape of the Lane French pictures, a very beautiful and priceless asset to a country—so shabbily presented, and where most of the canvases cannot even be seen. The space is hopelessly limited which results in overcrowding, no matter how admirably the pictures are arranged; the staircase walls have to be utilized, and alcoves and corners filled up; the different rooms are much too small, which means that pictures cannot be seen from the correct distance, or at the proper angle. I have visited the gallery many times, and it is no exaggeration to say that there are a great many of these pictures which I have never really seen, owing to the improper lighting and unsuitable space.
Some time ago a letter appeared in the Press from Mr. Crampton Walker suggesting as a possible site for the collection some of the rooms in the State apartments in Dublin Castle. At the time the idea, admirable as it was, elicited no response, but I think the time has now come when—I merely make the suggestion—a small deputation of people interested in the cultural development of Ireland should be formed to approach the Provisional Government, who, I feel confident, would be most sympathetic, and put before it the claims of the collection to a more dignified home than it has at present.
Centrally situated, the site would be admirable; the approach, the space, and the lighting at very little expense could be made all that might be desired. At some future date, if we are to "hold our heads erect" in Europe as a cultivated race we must supply a building for these pictures Belfast has just put aside 280,000 for the building of an Art Gallery for the city. In our case the gallery, which would occupy a relatively small space in the huge block of buildings, is there waiting to be used. It may be argued against this proposal that there is a shortage of space for the different State departments, which are all demanding house room, but it must be remembered that it is comparatively easy to house a Government department if you have the building, but a very different thing with a collection of pictures, which demands special space and lighting. The Municipal Gallery in Harcourt St. would be admirably suited for a Government office
Another thing. In a spirit of tardy repentance we keep on clamouring for the return of the Lane pictures from London. Let us show we are really in earnest by getting a gallery where we could put them.
PAUL HENRY (13a Morrion Row).

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Stained Glass at An Tur Gloine.
13.3.26
THE PEMBROKE Street Studio for the designing and making of stained and painted glass windows came into being over twenty years ago, through the foresight and initiative of Miss Purser, who conceived the idea of producing in Ireland the decorative Church work previously so largely imported. The Studio has more than justified itself. In practically every part of the country one finds fine windows which have been designed and executed by the artists working under its auspices. During the last year two of its artists have been employed in the production of a large three-light window, and a series of lunettes,
commissioned, by Mr. Eu Tong Sen, O.B.E., for the decoration of his Ballroom and Treasure-house at Singapore. The work for this commission—undertaken by Mr. Hubert V. McGoldrick and Miss Kathleen Quigley—composed the exhibits on view last week.
The ball-room window is the work of Mr. McGoldrick who, in this example of his art, manifests anew the dramatic quality of colour which one has begun to accept as peculiarly his own. In this window the artist has taken as his theme a rather intellectual conception of the ancient Bacchanalia and has departed from the usual artistic interpretation of this festival. The vine-crowned youth with the fawn skin over his shoulders is absent, as are also the leopard-drawn car, the satyrs, the intoxicated dancing, the wild singing and the gratification of purely physical desire, which most pictorial representations of this subject have led us to expect. Instead, the artist has given us the insistent ecstasy of rhythm. The three dominant figures in this window do not in the Bacchanalian sense dance. They live, and are moved to a series of rhythmic motions by the joyous life that is within them. They do not sing, they chant, and the purples and blues with the silver radiance of the river spilled through them, which form their background, unite in giving the impression of prayers intoned in awestruck voices by people who realise the wonder of growth and fruition, people who are not intoxicated with the juice of the vine, but who rather are drunken with light. One feels that the artist might have composed the central figures to give a more complete expression of one rhythmic movement. This could have been done without in any way detracting from their separate individuality or literary significance. Also, the architectural rigidity of the subordinate forms might have been emphasised more, not only to provide an emotional contrast to that produced by the movement in the figures, but also to add strength and solidity to the whole. Mr. McGoldrick experiments, in many forms of art, but he is essentially a painter of glass. His designs are often cold and unconvincing, but when he gets to the glass he appears to revel in the translucent beauty of its colour and produces work which is rich with life.
The work of Miss Quigley needs little introduction to people familiar with the artistic activities of this city. The nine lunettes for Mr. Eu Tong's Treasure-house have been designed and executed wholly by her and will add to her reputation as a conscientious draughtswoman and designer of ability. In these lunettes one is particularly struck with her treatment of children and animals. Her children are so charmingly grave-eyed and happy-limbed and decorative, her animals so cleverly silly and irresponsible. Of the nine designs one found "Neptune" and "Ceres and Proserpine" the most exciting. Neptune is seen riding his great sea-dragon—a finely conceived beast with blood red wings—through a decorative sea of sapphire and emerald waves, while a pathetic little mermaid in the corner provides an example of Miss Quigley's unique method of treating flesh. One liked least the tawny, golden syrupy Bacchus, which is rather effeminate in conception, and lacks the strength and formative feeling manifested in the other designs.
HYLDA BOYD.

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To-Day is "Varnishing Day"
R.H.A. SCULPTURES, PAINTINGS
THIS is the R.H.A. Exhibition "Varnishing Day" at the College of Art, Kildare St., Dublin.
This year's will be more like the pre-war exhibitions, inasmuch as many cross-Channel pictures will be shown. W. J. Leech, R.H.A., who was represented last year, will have a larger representation this year, and Gerald Festus Kelly, R.H.A., who was a very faithful exhibitor before the war, is exhibiting again this year.
We show some of the portraits which will be on view.
Above are Lawrence Compbell's busts of (from left) Rev.
Father Gerald, O.F.M.Cap.; Most Rev. Dr. MacNeely, Bishop of Raphoe; and Rev. Father Senan, O.F.M.Cap.
Lawrence Campbell, born 1911, educated by Dublin Christian Brothers, went, through travelling scholarships, to the capitals of Europe, is considered a leader in new national sculpture (the Heuston Memorial, Phoenix Park; Maud Gonne MacBride in Municipal Gallery; Jack B. Yeats, etc.); studied under Nils Sjorgen, Sweden, and at Paris won praise of the great Malliol.
Told an IRISH PRESS reporter:
"Work like Epstein's is not healthy, not suited to this country. . . Irish wood best for carving, if properly seasond . . . likes to work Irish limestone, granite. . ."
PAINTINGS below are (left) the late Mr. Dermod O'Brien (by James Sleator, P.R.H.A.) and (right) Capt. Tom Byrne (The "Boer" Byrne), who fought with MacBride in South Africa, led his men with Diarmuid O Buachalla in the march from Maynooth to Dublin in 1916 by Sean O Suilleabhain, R.H.A.).

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1946
PAINTINGS ETC. ON LOAN FROM THE CAPUCHIN ANNUAL OFFICE.
1.
AN ISLAND FUNERAL
JACK B. YEATS, R.H.A.
2.
BACHELORS WALK: IN MEMORY
" " " "
3.
THE PAVEMENT ARTIST
" " " "
4.
THE STAR GAZER
" " " "
5.
THE MAN WHO BURIED RAFTERY
" " " "
6.
THE DELPH MAN
SOMHAIRLE MACCANA, A.R.C.A.
7.
SALRUCK
RICHARD J. KING.
8.
CONNEMARA LANDSCAPE
" " "
9.
THE DANCE
PAUL HENRY, R.H.A.
10.
VILLAGE IN POLAND
THE COUNTESS MARKIEVICZ.
11.
VICTOR WADDINGTON, ESQ.
SEAN KEATING, R.H.A.
12.
JACK B. YEATS, ESQ., R.H.A.
SEAN O'SULLIVAN, R.H.A.
13.
CARL GILBERT HARDEBECK
" " "
14.
DR. VINCENT O'BRIEN
" " "
15.
CAPTAIN MICHAEL A. BOWLES
" " "
16.
SEAMUS CAMPBELL, ESQ.
" " "

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Aug 1933
THE ULSTERMAN
J. HUMBERT CRAIG, R.H.A.
by ANTHONY LIDDELL
SINCE the days of "Waterfoot Races," a picture of wonderful animation painted some ten years ago, James Humbert Craig has pursued his own highly individual way to his present position of eminence amongst Irish landscape painters. The subtle play of sunlight and shadow on the Donegal and Antrim mountains still fascinates him; in fact, a short reflection upon a decade of Mr. Craig's work is proof that few aspects of these counties have escaped the artist's eye—from the grim and terrible "Muckish," its summit surmounted by chill rain clouds, to the brilliant colouring of "Arranmore from the Rosses" (reproduced as a supplement to this number); or in Antrim, from the dark and menacing "Bog above Cushendun" to his vivacious rendering of the River Dun in all its moods.
Once seized by his subject, Mr. Craig works with extraordinary rapidity. I have seen him block in a canvas in ten minutes, the charcoal sketch possessing a vitality and a character of its own. His management of rain clouds, apt qualification for an Irish painter, is particularly impressive. Chill weeping skies and the dark vegetation of bogland appear in many of his pictures, but on the other hand no one can more confidently transfer to canvas the superb brilliance which bursts at moments upon the Irish scene. And while he works he will tell you many interesting stories about a life that was not always devoted to landscape painting. How, for example, when slung aloft in a cradle engaged in a very different form of painting (to be exact, in painting Brooklyn Bridge), he once looked down for a moment from his work only to see a man in the act of committing suicide by jumping into the Hudson an unspecified number of feet below. Actually the suicide missed the Hudson and hit the roof-tops of Brooklyn instead, but Mr. Craig did not wait to enquire into the manner of the end; he signalled to be lowered; took his wages from the foreman, and left the bridge painting business for ever. After that he has many interesting stories to tell of life in New York in the days when a young Irishman had only to find his passage money and a continent bursting with confidence did the rest. But the
hankering to paint landscapes, above all Irish landscapes, persisted—with results that may be inspected to-day in the galleries of many capitals. Bond Street, in particular, has manifested a partiality for his work; a fact not to be wondered at when one remembers how fresh and strange these renderings of John Bull's former island must appear to the average Londoner.
Success, in brief, has attended Mr. Craig—largely through his own courage in remaining obstinately himself. He has persisted; he has laid aside many mannerisms; but he is still James Humbert Craig—though possibly the picture of "Flax Pulling" accepted recently by the Empire Marketing Board for poster display marks a new and notable era in his development. His colour is now cleaner, his attack more confident, the result more brilliant. It is as if, in spite of success, the artist still had it in him to break with his own tradition, to pursue fresh paths towards fresh ends. What those ends might be, it is still too early to predict, for Mr. Craig is still, comparatively speaking, young in years, and younger still in heart. Ars longa, vita brevis. But if still upon the threshold of that crucial period when technical mastery informed by ripening judgment at last permits an artist to translate into outer reality the inner vision which originally compelled him to his art—if still at the turning point of his career, James Humbert Craig has the courage to go on experimenting, then what we have seen of his work may yet prove only the prologue to his confident maturity.
Smoke our Famous
"STORMONT" Pipe.
Price
3/6
CHARLEY'S
Over
100 shapes
to select from
12 DONEGALL SQUARE W., BELFAST.

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ST JARLATHS,
TUAM.
6 May 1946.
Rev. Fr. Senan, O.F.M.Cap.,
Capuchin Friary,
Church Street, Dublin.
My dear Fr. Senan,
As I was very busy, I could not write sooner.
Now I desire to express my hearty thanks for all the trouble
you took to make the Exhibition of the Tuam Art Club such a
splendid success.
Please accept my sincere thanks.
Ve in
- Joach Walsh
Inchbishop of Tuam.

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Irish Times 4/9/46
Limerick's New
Irish Art
Gallery
LIMERICK'S new £6,000 Art Gallery, for Irish paintings alone, will be opened next month, and Mr. de Valera has been invited to be present.
An Orpen, valued at £600, has recently been secured for the gallery, having been lent by the Irish Hospitals Trust. Altogether about 200 paintings have been obtained, including two Nathaniel Hones, three Walter Osbornes, three Jas. A. O'Connors and one each of Wm. Mulready and Daniel Maclise. All other distinguished Irish artists of the past, and every living artist of note, will also be represented.
Limerick Corporation have been the pioneers among local bodies in providing the gallery and, in addition, making a donation for the purchase of paintings.
The new gallery, which is to be attached to the city library, is the first in Ireland to be devoted exclusively to Irish art, and offers of the works of English and other painters have had to be declined by the committee. One section of the gallery will be set aside for paintings of Limerick citizens noted in art, music and literature.
The T-shaped gallery, of panelled wood, is designed in the most modern form and is the first of its kind in the country. The modern tubular artificial lighting, directed from the roof on to the paintings, places the spectator in semi-darkness and eradicates all reflections.
The architect was Mr. Lucius O'Callaghan, who, himself, is an art connoisseur and has visited all the chief galleries in Europe.
District Justice J. M. Flood, patron of the Gallery, told an Irish Times reporter that the establishment of a gallery solely for Irish art supplied a long-felt need. He had met an American visitor who had never heard of Irish art. Now that Limerick had become, as Mr. Lemass had stated, "the shop window of Ireland," a gallery was more than ever necessary there. When they had first urged the idea of Ireland had no galleries outside Dublin and Cork; now there were galleries in Waterford, Clonmel and Kilkenny.
The curator of the Gallery will be Mr. Robert Herbert, the city librarian, who, with Mr. Flood and Mr. Johnston, secretary, was most active in establishing the Gallery.

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A Belfast Painter Rambles in Dublin
By GEORGE CAMPBELL
MY wife and I took a Canadian friend with us on our last visit to Dublin. He had expressed the desire to see the city under my guidance, as I had a fair knowledge of places to see and things to do. We hoped to get some drawing and painting done, too. Many a time I had spoken to him of Moore Street and Horseman's Row and the Coombe and the many opportunities for character sketches, so now was the time to turn our stay to good account. The Customs officials were very understanding and did not measure up to Mark's pre-
Stephen's Green. This oasis has, on other visits, many a time saved my tired limbs.
BLUISH HAZE OVER LIFFEY
There was a bluish haze over the city, although the weather was very good. It is just this haze that I have always wanted to paint. It seems particularly a part of the Liffey river, with its Paris-like bridges and tree-lined parapets. He had heard of the famous players even in faraway Toronto, so we went to the Abbey Theatre that night and saw some good acting, though we did not think much of the play itself. We were no more original than most visitors—or should I say escapists?—inasmuch as we headed for whipped cream ices immediately after the play.
Next morning found us in Moore Street, armed for painting. The same blue haze was there to give the other-world atmosphere that we wanted. Within an hour or two we had gathered enough material in the way of sketches to keep us at work for several months. Mark's ears stood continually at attention, catching every syllable uttered at the nearby stalls. In many cases, the stalls were prams! He still, some weeks later, mutters at intervals: "Tuppence each the herrins or whoitin." To a war-rationed Northerner, the sight of all that beautiful food was breathtaking.
IN HORSEMAN'S ROW.
Horseman's Row was our next victim. The stall owners, in their funny little hats and white aprons, were just beginning to open shop. Bed clothes and shoes and chairs were scattered on the sidewalk. And still that lovely blue haze over everything. Perhaps the burning of turf has something to do with it. Once again we got in a lot of sketching, then passed on to Henry Street and on to the Capel Street office of the "Capuchin Annual." There Fathers Senan and Gerald showed us their collection of paintings—Yeats, Henry, McCann, Galbally and our own Northern Craig amongst others. Perhaps some day, if the Customs disappear, the North will be better represented.
Whilst on the subject of painting, I must add that Dublin never fails to amaze me with its numerous shows. We visited three others after leaving Capel Street. One of them, the Living Art Exhibition, displayed vigorous paintings well hung. But, again, there was the lack of Northern representation. It is a pity, I thought, that some scheme could not be worked out to help us in the North to get round the rigmarole of the Customs.
Dublin Flower Seller.
conceived ideas in the matter. Drogheda, Balbriggan and Swords passed in quick succession and finally the smell of turf greeted us.
Here was Dublin! The jarveys in Amiens St. always tickle my fancy. I think the abrupt change of accent does the trick. Quite a few of them would look well on canvas. Yes, I will paint them some time. I had previously found an hotel near the Nelson Column, at the city centre. After lunch, we were all set for a walk, sightseeing. We walked up Westmoreland Street and Grafton Street into
Moore Street, Dublin.

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STATIONS OF THE CROSS
(14 Paintings in Oils)
by
EVIE HONE
Commissioned for the Parish Church Kiltulla, Co. Galway
The Honour of your Company is requested at the
Private View at 3.30 p.m., Tuesday, 11th March, 1947
Also on view—10 a.m. to 6 p.m.
Wednesday and Thursday
12th and 13th March
The Dawson Gallery
4 Dawson Street
Dublin

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Pengion
Catholic
MARCH, 1947
$3.00 A YEAR 30 cents a copy

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WARSAW MANHOLE, by Feliks Topolski, in the School of London exhibition at the new Victor Waddington Galleries, Dublin.
POLA, an Epstein study on view at the new Victor Waddington Galleries.
S.I. Notable Exhibition
6.4.47 In Dublin
The exhibition at the new Victor Waddington Galleries in South Annes Street is daily attracting hundreds of visitors, a fitting reward in itself to the enterprise that insisted that Dublin should have such an art gallery. And the visitors are not come from distant parts of the country.
There is plenty of food for thought in the exhibits—designated as from the School of London. Impressionism, Realism, Abstractionism, Cubism, are all here. Of the Abstracts, Jankel Adler is most interesting in Nos. 68 and 69; the colour compositions are superb; and No. 15 in the Drawings section is from the technical point of view probably one of the most individual works on show.
Matthew Smith in his Homage to El Greco (No. 56) sends one of the highlights; rich in colour, yet with values that are excellent, he forsakes nothing for feeling and movement, and the handling of the figures is grand.
MAGNIFICENT, TERRIBLE.
Feliks Topolski may not be too happy in his turbulent No. 53, The Levant, but he compensates amply with the small and very lovely No. 52, Sunday In Tanganyika, and No. 54, the magnificent and terrible Warsaw Manhole. Here is a picture that had to be painted and Topolski has painted it. It is more than comment—it is an indictment. Incidentally, the exhibition as a whole is well hung, but this outstanding painting is badly placed.
From this to the galety and humour of Kokoschka's brilliant fantasy, No. 63, Centaur, with its sparkling quality. No wonder Kokoschka is hailed as in the forefront of European painters.
John Piper is in Dublin again and
is good to see. (How he has quickly won admirers here is shown by the sale of all his exhibits). He has a masterly work in oils, No. 64, Mistley Church, Essex.
A "PROBLEM" PICTURE
Tristram craftmanship in the painting of No. 71, The Accident. Stanley Spencer's No. 59, Caulking, will be noted, and See No. 92, The Father, by Sir Francis Rose, a picture that is causing quite a lot of discussion.
In the smaller gallery there is an excellent group of drawings by Henry Moore. Mervyn Peake shows typical examples of his works that have brought him such wide reputation. Also here is Mary Krishna, whose free and good line indicates that we should hear much more of her.
EPSTEIN TRIUMPHANT
The sculpture section is represented very rich. Epstein is represented by three outstanding pieces in bronze. Deirdre, with head forward on inclined shoulders, is powerful and simple. The young Pola, with her whimsical smile and half-laughing eyes, is extraordinarily alive. Head of a Woman challenge. Head of a world lengthy looks out at the world with amusement and dignity.
Dora Gordine scores with her No. 46, Ballerina. With its movement and grace, it is vital and alive.
It is impossible in the space at our disposal to deal as we should like to with many more of the outstanding exhibits.
The exhibition, admission to which is free, will continue to April 10.
C. G. H.

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18 Knightsbridge Court
Sloane St SW
May 10 1947
Dear Rev Father
You have reproduced pictures so successfully in your annual that I am going to suggest that you secure the copyright of Lady Butler's famous picture "the Eriction" which has been displaced by the sale at Gormanston and is now being kept at Miss Kelly's
Marfield Cabinetelly
so Lady Gormanston tells me & hopes you will have a look at it. It was painted by Lady Butler at the height of her fame in representation to Sir William Butler's intense love of Ireland. It is the only work of an old work of which symbolizes the Eighties and the shole struggle for the Land. It right to be in some Irish gallery (I understand that it can be secured for 80 £) I believe the copyright alone would repay the purchase but however that remains to be seen. I have written to
the President suggesting that the picture should be obtained for the country. Meantime I know Lady Gormanston would be delighted if you could secure the copyright and make the picture known throughout Ireland through a reproduction in the channel.
Hoping that somebody will come of this I remain yrs faithfully
Shann Lodie

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MR. CHURCHILL'S
COUSIN IS
CONVERT
(6)
30.8.46
MRS. CLARE SHERIDAN,
sculptress and authoress, first
cousin of Mr. Winston Churchill
and of Sir Shane Leslie, has been
received into the Church, says
Vatican Radio.
Mrs. Sheridan was baptised in
the Cathedral of San Rufino at
Assisi by the Bishop of Assisi,
and a week later received Holy
Communion at the tomb of St.
Francis.
Mrs. Sheridan was received on
August 12—Feast of St. Clare.
She is now a tertiary of the
Third Order of St. Francis.
Mrs. Sheridan, whose home is
at Brede Place, Sussex, has busts
of Churchill, Lenin and Trotsky
among her sculptural works.
She has written books about
many countries, and lived among
Red Indians and Arabs. For
eight years she lived in a house
she built on the edge of the
Sahara Desert.

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PICTURES ON LOAN FROM THE CAPUCHIN ANNUAL OFFICE
1) The Very Rev. Padraig de Brún, M.A., D.és Sc.,
President, University College, Galway.
Drawing by Feliks Topolski.
2) Padraig Ó Caoimh, Late Asst. Clerk of Seanad Éireann; former §
Secretary of Sinn Féin.
Drawing by Seán O'Sullivan, R.H.A.
3) The Pig-Buyer Returns from the Fair.
Water colour by Jack B. Yeats, R.H.A.
4) Tribute to Pearse
By Richard J. King.
5) Interior: Stained Glass Studio
By Richard J. King.
6) The Dead Christ
By Richard J. King.
7) Hymn to Orpheus
By Seán Keating, R.H.A.
8) Florentine Madonna
By Harry Kernoff, R.H.A.
Them
19 4 6

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Limerick's Freedom for Painter and for Lawyer
TO mark the work they have done in connection with providing a Municipal Art Gallery in Limerick, the Freedom of the City was yesterday at a special Corporation meeting, conferred on Mr. Joseph M. Floed, former District Justice in Limerick, and Mr. Sean Keating, R.H.A., the Limerick-born artist.
The gallery, the only one in the country that is devoted exclusively to national paintings and yesterday, was formally opened with a meeting by way of an adjunct to the Carnegie Free Library. It cost over £6,000, provided from the municipal rate and in addition £150 a year and fund for purchase of pictures. There are already 100 pictures on view.
A distinguished gathering of citizens included the Bishop, Most Rev. Dr. O'Neill, and the Rt. Rev. Dr. Hodgins, Protestant Bishop.
The motion for the presentation of the city's freedom was moved by Ald. Bourke, T.D., seconded by Ald. Reidy, T.D., and supported by Mr. M. J. Keyes, T.D.
Presenting the freedom of the city to Mr. Keating, the Mayor, Mr. P. O'Connell, said that this great man had shed lustre on his native city, where he first learned the rudiments of his art.
Mr. Floed said he was honoured by having his name inscribed with such great national figures as Isaac Butt, Parnell, Davitt and Eman de Valera and with princes of the Church, such as Archbishop Mannix and the famous Bishop of Limerick, Dr. O'Dwyer.
Mr. Keating said he always took pride in his native city which he was given the opportunity to develop the talent God had given him when he attended as a boy the art school at the Technical Institute. As he was the first painter to be made a freeman of Limerick, that day's ceremony was unique. If he or had a great mulitary leader was it might not be surprising if he were given the freedom, but the fact that the honour was bestowed on him was proof that art could be greater than riches.
Event's Significance
Speaking at the opening of the gallery, Dr. O'Neill said that there was a significance for Limerick in the fact that this event had not taken place, and perhaps could not have, until the middle of the twentieth century. The chequered history of our country offered, he supposed, a sufficient explanation.
"It may be idle to speculate have made in the cultivation of the arts if circumstances had been more favourable. It seems clear, at any rate, from our earlier history that our people were endowed with an artistic temperament which found noble expression in illumination, metal work, etc., museums.
"The artist, whatever his medium may be, whether he be poet or painter, or musician or sculptor, or architect, is one who sees certain aspects of truth or beauty more vividly, who is impressed by them more deeply, and who expresses what he sees and feels for the uplift of us all.
"He is a great artist when he has the deepest impressions and when he is master of the medium of their expression.
"The Church always been the patron of the arts, and I have no doubt that she will continue in the role. If the Church in Ireland has sometimes in modern times
Irish Power.
23/3/48.
At the opening of Limerick's new Art Gallery, included: Mr. P. O'Connell, Mayor of Limerick; Sean Keating, R.H.A.; Most Rev. Dr. O'Neill, Bishop of Limerick; Mr. J. J. Gallery; and Mr. J. M. Floed.
been reproached for lack of patronage the explanation is not far to see—existence comes first, and we have ample signs, especially in the progress of the art of stained-glass, that with better times our artists will secure more and more ecclesiastical encouragement.
"But the Church must not be alone in this. The opening of a gallery will result in the opening of people's minds, and I am confident that the events of to-day will have far-reaching consequences and will do much to contribute to the well-being of our native artists."
A motor car was presented to Mr. Keating by the Mayor at the Chamber of Commerce from a group of citizens wishing to pay a personal compliment to the artist who, in the words of Very Rev. Canon Moloney, P.P., V.F., was "prodigal in his gifts not only to Limerick, but to Ireland."

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TIMES PICTORIAL
27.3.48
AN ARTIST IS HONOURED
If Mr. James Stephens had late Stephen MacKenna, if I had ever met a great man I should have replied truthfully that I had, and have agreed with him further that such men are generally authoritative persons worth listening to on any subject — since anything they have to say may have "sharp corners to it and sly slopes."
Turning these things over in my mind, I decided that the golden moment had arrived in which I would give myself the pleasure of congratulating Mr. John Keating on the fact that his native city of Limerick had conferred her Freemanship on him. To do this, I knew I should have to waylay him on his way to lunch—and take the consequences.
If one has the luck to see John Keating actually painting, one realises that he is ambidextrous—a natural privilege, which was also enjoyed by such painters as Leonardo da Vinci. It is fascinating to watch him transfer a full palette from his left to his right hand—and go on to painting without a moment's hesitation, in a sort of graceful and accurate "follow through." A gesture which prompted me to ask him what sort of a job did he think would satisfy him—if he were not a painter, and machinery he "could be happy with machinery of any kind."
LATIN WARMTH
Although John Keating is a Limerick man, born and bred (his maternal great-grandfather also was a hereditary Freeman of the City of Limerick), there is something so latic in his movements that I'm tempted to ask him if he had to live out of Ireland what country would he choose, and why. "Anywhere on the Atlantic seaboard," he said, "but preferably in a warm climate and amongst Latins."
When I reminded him that he had lived in such places, he said that he had spent too little time in them to know if he could be happy to live and paint there always.
Speaking of America, I asked — how he thought — compared to life—and the food—compared to ours. "Difficult to make a comparison." he said. "The average American, in my experience, is about 12-15 years old and never any older, and cannot be related in any connection to adult races." The American standard of sufficiency seemed to him gross excess—and the American food, beautiful to look at, but tasteless or ruined by condiments.
PRICE OF GREATNESS
Of the old masters, John Keating and Tiepolo, "because they were robust, sane and happy, or appear to have been so."
Three generations of Keatings—John Keating, R.H.A.; his son, Michael, and his father, Joseph Keating; a picture taken in 1940.
When I asked him if he thought there had been any first-rate writers or painters amongst women, John Keating said that if one took as a standard any of the foregoing painters—or, in literature, Shakespeare, Göethe, Cervantes or Shaw—"no." He appeared to him rightly women preferred to be rightly to be, rather than to do. "The price of greatness," said he, "is all that you have, all the time. Is woman prepared to pay this price?"
With a great collection of work to private collections all over the world, John Keating works "all the hours God sends." It was the same all his life, since the days when his grandfather gave him a box of paints at the ripe age of eight, and he coloured everything he could lay his hands on. And when paints and pencils gave out, he evolved a medium of his own, by which he scraped the distemper off walls, to
John Keating is married and lives in a pleasant house at Whitechurch, Rathfarnham, designed by himself and built for him, where his wife, who is an enthusiastic gardener, has created a lovely setting for a lovely son, Michael, who is an engineering student, and Justin, the younger, who is a veterinary student. John Keating's father, now in his 98th year, has good reason to feel content in his sons.

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SCOIL CALADON CATARDA CRÁFORTO
CRAWFORD MUNICIPAL SCHOOL OF ART,
CORK.
Celepón—574
Priom-Orde:
S. M. MAC CANA, A.R.C.A. (Lond.)
7. 4. 1948
Dear Father Senaw,
I'm sorry for the long delay
in answering your post-card but I can assume
you that I was not really to blame.
The late Loreph Heggins, as he usually regried
his name, lived in a house called, "Abbey view",
Younghal, where his widow, who is the art Teacher
in the local Technical School, still resides.
We have in the School gallery, too very fine
bronze heads which he executed, one is called
"A Titler of the Sea", and the other, "Stracavre Fix",
Both were purchased by the Gibson Bequest.
It may also be of interest to know that his daughter,
Maighnead is married to Seamus Mumphy the sculptor,
and Seamus has had some very good photographs
taken of these two heads, as well as other specimens
of his work. Had he lived, he would have been
the best sculptor Indiand produced so far.
Brad agus beannaiz.
Sincante.

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4/0 Miss S. O Brien
at 6 Wellesley Terrace
Corn
Dear Father Seanon
I came home late Cast night & am found you welcome hand - writing - it was then the home past breach you had - day.Joseph O'Higgins the sculptor who made the professors Court, who was as fine an artist, I would not heritate to say an Shagom, the great Swish sculptor
Joseph O'Higgins John S. O'Higgins John S. O'Higgins
2died in Youghal in keeping of 1925. I saw him a few days before his death. We died of consumption. You wanted particulars you and find them in a vice necessary on opposition (no, it is not vice because seem O'Fallan is missing words of peace and admiration with a lot of Contemnes in his mouth and Demunciation of the world at Case) it is yet going you more particulars about - O'Higgins, Seanon Murphy his son - in law living on the first place of
3this house (belonging to Miss O'Higgins) has it; he would send it to you smelly if you wished to read it. I am going home to Saphie now at the end of the week. you debate I did not take part of the ceremonies, receptions, episcopes and welcomes of this week but I thought the minister of health de Boronene had a vice verious face. he must be very young for a minister.
with the kindest regards and respects for you and Father Seanon your very sincerely Seanon Bouldy

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Standard 28.V.48
Religion In Art
A STANDARD photographer took these pictures at the first Irish exhibition of her work by Mrs. Clare Sheridan, the famous sculptress, which opened in the Dawson Galleries, Dublin, last week.
Mrs. Clare Sheridan with Rev. Fr. Senan, O.F.M. Cap., Editor,
Capuchin Annual, at the exhibition,
"Hail Mary, full of grace, blessed is the fruit of thy womb," is the title of this study carved out of a bleached pine tree which came from Battle Abbey, the historic English Benedictine Monastery

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Exhibition
OF
SCULPTURE
CLARE SHERIDAN
The Dawson Gallery
4 Dawson Street, Dublin
Clare Sheridan is the daughter of Morton Frewen, who represented North East Cork at Westminster. Her mother was one of the famous Jerome sisters of New York (the other two were Lady Randolph Churchill and Lady Leslie). She spent most of her childhood at Innishannon on the River Bandon and received her education in Paris at the Convent of the Assumption. Her husband, a direct descendant of Richard Brinsley Sheridan, died in the first World War, leaving her with two small children and inadequate means.
When she decided to exploit her talents, John Tweed, the official English sculptor, took her to work in his studio; later she studied under Professor Lanteri at the South Kensington College of Art. At first she specialised in portraiture. Her bust of General Bishop, v.c., was purchased for the Canadian War Museum, those of Asquith and Lord Birkenhead are in the Oxford Union, and her bronze of Gandhi is in the Bombay Museum.
In 1920 she made the acquaintance of Kameneff, Russian trade delegate in London, who was so much impressed by her "Statue of Victory" (which, in fact, was scarcely discernible from Defeat) that he arranged for her to go back with him to Moscow and do busts of Lenin and Trotzky. She spent three months at work in the Kremlin. As no one else had been able to get into Russia since the Revolution, Clare Sheridan's success was a "scoop" of the first magnitude and Lord Northcliffe published her "Moscow Diary" in The Times, paying her at the rate of £100 a day. It ran for a week. After this sensational debut, journalism vied with sculpture in her career, each profession helping or obliterating the other in turn.
In 1922 Clare Sheridan was in Dublin as correspondent for the New York World and was the last person to enter the Four Courts before the bombardment. This experience and her moving interview with Rory O'Connor are described in her autobiography "Nuda Veritas."
In 1943 she modelled the bust of her cousin, Winston Churchill, at No. 10 Downing Street. This portrait is the fruit of a total of 15 hours work at the foot of the Prime Minister's bed whilst he read the morning newspapers.
She spent the war years in her Sussex home on the South East Coast of England. A convinced pacifist, she endeavoured to pursue her artistic vocation without interruption, though with an Anderson shelter in the corner of her studio. Neither metal for bronze casting, nor coal for terra cotta furnace was to be had and so she availed herself of the presence of troops to have the dead trees on her estate cut down and carried in and set up in position. That was how she began her wood carving. In the 14th century parish church of Brede there is a seven-foot statue of Our Lady which commemorates her son Richard Brinsley Sheridan.
Clare Sheridan has exhibited her works in London, Paris and New York. She has come back to Ireland to concentrate on religious art and so help to bring about a renaissance in ecclesiastical sculpture.
SHANE LESLIE.
S S S
A note on the material used in two of the works to be seen in the present exhibition may be of interest.
The large Crucifix which has been acquired by the Bishop of Galway, Most Rev. Dr. Browne, for the future Cathedral was carved in one piece from a cherry tree. A tree having opposed and horizontal branches is rarely to be found. This one with outstretched arms and drooping head seemed to be pre-destined for religious use.
The five foot statue of Our Lady is carved out of a bleached pine tree which came from Battle Abbey, the historic Benedictine Monastery.
1. Crucifix (three-branched Cherry tree).
(Lent by Most Rev. Dr. Browne, Bishop of Galway.)
2. "Hail Mary full of Grace—
blessed be the fruit of thy Womb."
(Pine tree, bleached).
3. Risen Christ (Oak).
4. Archangel Michael (Oak).
5. Heart of Mary (Limestone).
6. Head of Christ (Limestone).
7. Madonna and Holy Child (Terra Cotta).
8. An Apostle (Cement).
9. Plaster Model for a 9 ft. statue of Our Lady in Oak.
10. Right Hon. Winston S. Churchill (Bronze).
11. Head of a Child (Terra Cotta).
12. Gandhi Spinning, London, 1932 (Terra Cotta).
13. Countess de Reneville (Terra Cotta).
14. Serge Lifar, Russian Ballet, 1935 (Bronze).
15. Senator Marconi (Bronze).
16. Count Charles de Pourtalès (Terra Cotta).
17. My son Dick, aged 5 (Bronze).
18. Baron Von Flotow (Terra Cotta).
19. Trotzky, Moscow, 1920.
20. Shot-on-both-sides, Chief of the Blood Tribe, Alberta, Canada.
21. Ancient-pipe-woman, Wife of Chief Shot-on-both-sides.
22. Big Bull, Piegan Tribe, Alberta, Canada (Bronze).
23. Chief Turtle, Blackfoot Tribe, Montana, U.S.A. (Bronze).
24. Birds in Flight. Fountain (Bronze).
25. Spouting Fish. Fountain (Bronze).
PRICES CAN BE HAD ON APPLICATION.

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650
Irish Life, January 19th, 1917.
Our Portrait Gallery.
By JOHN CRAMPTON WALKER.
Mr. Oliver Sheppard, R.H.A., R.B.S.
The sculptor has few opportunities of coming before the public, for only one statue is executed for every ten paintings, and in Ireland the opportunities are few and far between, when some monument of national importance calls for the genius of a man who has devoted his whole life to his work. Thus when Mr. Parnell's monument was commissioned the authorities called in, true, an Irishman, but one who had acquired fame abroad, though all the while there was a man who could not merely have carried it out himself, but in all probability have turned out a far finer piece of work. That man was Oliver Sheppard, the present Professor of Sculpture at the Royal Hibernian Academy.
Born in Co. Tyrone some forty-five years ago, Mr. Sheppard studied at the Dublin Metropolitan School of Art and the Royal Hibernian Academy. From here he passed on to the Royal College of Art, where he came under the influence of Professor Lauteri. As with most great sculptors, he passed through Paris—the home of Art—where he was for a time at Julian's Academy, and then went on to Calarossi's Studio—and he is full of recollections of the genial student days he spent in the French capital. He did not, however, confine his foreign experience to France, for there was the vast field of Italian art to be explored—Rome, Milan, Florence, Padua—and in order to appreciate them together with a kindred soul he was accompanied by John Hughes, R.H.A., and he drew no little of his inspiration from the classical models which they then saw: an inspiration which can be seen in all his subsequent work.
In 1898 he was elected an Associate of the Royal Hibernian Academy, becoming a full member three years later in 1901, and in 1903 being appointed Professor of Sculpture. He is also a member of the Royal Society of British Sculptors, his work being equally appreciated in England as in Ireland. He has executed several public monuments and busts, while his excellent little statuettes are familiar to frequenters of the Black and White Society's Exhibitions. Last year his portrait bust of George Bernard Shaw was one of the most notable exhibits at last year's ill-fated exhibition of the Hibernian Academy in Lower Abbey-street, and shared the fate of the other works of art in the rebellion, and all that was left of this brilliant piece of workmanship was a little pile of ashes and a shapeless block of marble.
That there is a future for sculpture in Ireland is undoubted. especially of sacred and historical subjects, as he never fails to remind his pupils at the Metropolitan School of Art, where he occupies the position of teacher of modelling. Indeed there is no reason why every church in Ireland should not become a museum of a new national art instead of receptacles for cheap imported plaster casts from Germany, which
are unfortunately only too common, especially when one remembers the splendid traditions of Irish ecclesiastical decoration of which the Book of Kells may be said to be the world's masterpiece. Such a movement, however, can only hope to be successful if the younger generation follows in the footsteps of men like Mr. Oliver Sheppard and show the same enthusiasm for their work as he does.
The accompanying illustration is a first-class example of his style, and may be called one of his most famous works. It represents the death of Cuchulainn, the celebrated Irish chieftain, and was exhibited in the Hibernian Academy a couple of years ago, when its vigour and charm aroused universal admiration.
Irish Life, January 19th, 1917.
651
THE DEATH OF CUCHULAINN.
By OLIVER SHEPPARD, R.H.A., R.B.S.
For seven days Cuchulainn battled against the hosts invading Ulster. On the eighth day his charioteer, Laegh, was pierced by a spear-head. Then Cuchulainn sprang to the ground, and as he did so was pierced by another spear-head. Near him was the grave-stone of a dead warrior. He struggled to it, and, standing erect beside it, fastened himself to it with his brat. The host of Meave when they beheld him retired again. So stood Cuchulainn, even in death-pangs, a terror to his enemies, and the bulwark of his nation.

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149. Sun Row.
Dillon's Goos
Cok.
21. 10. 1942.
Dear Father Seam.
I actually herewith a Mate
of my bust of Davis, It was
unreally at the Town Hall, whallow by
an earseach last week. I tried very hard
to get the spirit of the man. How far I
have succeeded I tried leave others to pudge -
The other photo's is a statue untitled
"The Virgin of the Twilight" in polished limestone
light 6'4". The spart 2 years at work on
this statue will exhibit it this year.
At the R.H.A stow in the Spring.
My reason for the title is, the statue suggests
evening, simplified forms, darkness darkness. The
evening star. I would like to know what
your opinion is - Professor Gorkery is very
pleased with the work, says it would look
wonderful with taper light in a church.
I see the Precord often und
must congratulate you having such
an able somewhat as Alacorin Allen
The Frint artists serve art excellent, etc
good to see the emphasis on the people
trying to do something at home.
With my best wishes and trusting
your health seeks good.
Dear Father is Dennisse
Seamers Allensley

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MAINIE JELLETTTRAVELLING SCHOLARSHIP FUND
PATRONS:
E. H. ALTON, ESQ., LITT. D.,
PROVOST OF TRINITY COLLEGE.
C. P. CURRAN, ESQ., S.C.
MISS M. FAYLE
GEORGE FURLONG, ESQ.,
DIRECTOR, NATIONAL GALLERY OF IRELAND
SIR JOHN KEANE, BART.
MRS. MCCARVILL
E. A. MCGUIRE, ESQ.
MICHEAL MACLIAMMOIR
SEAN MOYLAN, ESQ.
COMMITTEE:
F. H. BOLAND
RALPH CUSACK (HON. SEC.)
R. R. FIGGIS
STELLA FROST
EVIE HONE
HARRIET KIRKWOOD
MAJOR T. W. KIRKWOOD
LOUIS LE BROCQUY
NORAH MCGUINNESS
MICHAEL SCOTT, M.R.I.A.I
At the opening of the Mainie Jellett Memorial Exhibition some time ago an idea was put forward which had spontaneously grown amongst her friends and fellow-artists.
It was felt that there could be no better way of perpetuating both her memory and her vitally inspiring work as a teacher and friend of the younger generation of Irish artists than by somehow ensuring that the work she so magnificently began should continue.
With this end in view, the above Committee was formed to raise funds to found a TRAVELLING SCHOLARSHIP, available for study outside this country, to encourage those qualities and that seriousness of purpose in young artists by which Mainie Jellett herself set so much store, and to the furthering of which she devoted so much of her life. Thus we could hope that the seeds she planted should continue to bear fruit, and that the young artists would be able to go out, as Mainie Jellett did, and bring back with them through their own vision and interpretation, the ideas and ferments of the mainstream of artistic creation from wherever it may in future flow.
It is intended that this scholarship should at all costs be kept a living and vital thing, as Mainie Jellett herself would have wished,

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IRISH REVIEW AND ANNUAL, 1948
Supplement to the Irish Times
31
John Keating, R.H.A., tells what the average Irishman appreciates in Art—and why
ON being asked to write an article on the artistic events of 1948, I looked over preceding contributions on this subject. They consisted of a recital of names, dates and events; exhibitions of pictures, openings of private galleries, in provincial towns, lectures on art, awards of scholarships and prizes, acts of various committees and bodies concerned with cultural activities, etc.—a very dull and tedious affair—of no general interest and, since the professionals and persons concerned knew all the facts already, superfluous. Matters relating to art and culture are always treated in a solemn, if not pompous, way; highbrow and during humourless recitations of clichés and platitudes.
I decided to do something different and to describe the reactions of an average citizen to what he saw in 1948. He is middle-aged, middle-class, reasonably well off, educated in a unorthodox way, more by circumstance and the use of a good intelligence, than out of books. He is as cynical as becomes a man of his age and experiences, anxious to know, willing to propaganda from further attacks on his reason. He goes to picture shows because of general interest in the activities of the human race—he likes to know what is being done—to learn something, to feel something and possibly to buy a picture—if permitted to look at it in peace. He does not like artists, whom he finds conceited and touchy to a degree not conversation, but the power of their intellect. He considers himself to be capable of objectivity, and, perhaps, he is. He says:—
"I went to a great many exhibitions of pictures in 1948. What struck me first was the greatly increased interest and activity in matters of painting compared with the year 1918, when I was first interested in such things. At colour society R.H.A. were the only artistic events of the year—possibly one or more one-man shows.
War years peak
During the years of the war—1939-45—it seems to me that interest in painting reached a peakpoint. (The curve has now flattened a little.) I attribute this to currency restrictions, excess profits taxes, im-
State aid for Art
State aid to encourage art was foreshadowed by the Prime Minister, Mr. J. A. Costello, in Dublin, October 8th.
He said: "I hope that one of the achievements of this Government will be to take away the slur on our nation that artists have no opportunities."
One of the best ways of building up friendship with other countries, he added, would be in the exchange of works of art, of which Ireland had a good share.
This sketch of the Custom House, Dublin, was done by John Hall, who held a successful exhibition in Dublin.
possibility of foreign travel, etc., rather than to any heightened consciousness about painting. There was probably a feeling of anxiety about investments and a desire to convert money into things.
I found it impossible to see every exhibition, but after three months of assidious attendance I began to be able to discriminate between what is becoming the routine of mercantile activity and the genuine artistic event, which latter I found no more common, than significant events in any other walk of life. I found the people more interesting than the pictures. Many personalities and conversations and general reflections arising out of my mind—but only man clear in my mind—that only two pictures of all that I saw during the year.
It occurred to me that the general level of imagination and receptivity, of capacity for feeling and emotion is higher among the public than the artist would be better for, and that it would be supposed to be if their preconceived notions about each other could be dispelled.
I think that the intervention of silly highbrows, propagandists, self-constituted experts and people with an æsthetic axe to grind between the public and the painter is a great misfortune. I know that it puts me off.
Of little interest
The greater part did not interest me. I saw this year did not picture me. They fell mainly into two classes. Firstly, "representational" or natural or classical manner, but without composition or design. It seemed as if the painters had gone out to look for a "fortunate accident" and simply transcribed subjected it to any process in their mind. (I did not get from these works. Because of poor technique, careless drawing meanship and dirty paint) as much pleasure as I would have experienced on seeing the subjects for myself. But that is exactly what I recall. From a work of Art—that I should be made to see deeper and to feel more. To exercise that power over me is, I think, the only justification for the painter's desire to exhibit his work.
Secondly, pictures described as "Modern Art" were mostly incomprehensible to me, because they did not conform to normal visual experience within recognisable limits—or because they were "abstract." The attempt to convey abstractions by means of pictures, words, or symbols seems to me an effort to "unscrawl me of mere and abstract" and
therefore impossible. How a concrete object can be reasonably described as "abstract" I do not understand. I diligently and patiently sought explanations, but found them as obscure as the pictures themselves. But I gathered that there are certain "general agreements between the "moderns" which constitute a sort of negative creed. Firstly, that classical painting is dead without issue, and that a new dispensation based on the writings of Freud and Jung has become necessary.
The Good, the True, the Beautiful as they exist in the world of creation are no longer the sources of inspiration. These ideals do not fulfil the spiritual requirements of our time and the "subconscious" has now supplied the "conscious." On this point I am not qualified to pronounce.
Secondly, that "representation" is not Art, I agree that literal representation is not Art, but I think that this point is not important because nobody thinks that it is. Thirdly, that technique or skill is unimportant. With this I disagree, because to me displays of skill are a large part of my enjoyment of the pictures that I admire, and I cannot distinguish in myself between the pleasure to be had from the treatment and from the subject. Just as it seems to me that the pleasure of reading is greatly diminished by bad grammar or illegible type—no matter how interesting the subject—so with paintings. Clumsy handling, dirty paint and bad drawing out me off. Add to these characteristics a perverse preoccupation with the dolorous and macabre, a delight in physical ugliness, a Switzerland interest in base physiological function and human depravity I begin to feel that these pictures are not creative but destructive, and I come away depressed. There is a tendency, which I regret, to hire in arguments whom, hearing, I disliked.
Child or lunatic?
One authority pronounced in public when I was present that, according to the creed of the "Surrealistes" (who claim to be the leaders of the "Modern" movement), the child and the lunatic are the archetypes of the artist creator. This I felt to be true, because it explained to me the want of continuity and logic—evident inability to control the material—inability to carry the work beyond the point at which the artist prevented further concentration, inability to resume at the point and in the mood when the work ceased, desire to shock and
No agreement on Lane pictures
The Lane Collection has not come home to Dublin. The room specially arranged to hold the 39 paintings in the Municipal Gallery in Modern Art remains empty.

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183 Griffith Avenue,
Drumcondra,
Dublin.
Oct. 22nd 1948
Dear Father Senan,
Thank you very much for the kind words and for your generous cheque.
Of course I'd love to do an article on The Fine Arts in Belfast. Indeed, its in the nature of a challenge and I feel like making a solid and systematic survey, even though I probably wouldn't want all of it for the article. There is a feeling abroad - in Dublin anyway - that Belfast knows only commercial or showing I say commercialised? art. It would be amusing to refute that suggestion.
There are odd things to be taken into account - the Glasgow influence, at one stage and the contribution of certain families, mainly as patrons. I seem to remember some very interesting things at the Londonderrys' place.
And of course Art has been much better taught in northern Secondary and Public Elementary Schools than here - unless I am sadly wrong. History of Art and the applied arts with some practical work at a craft are part of the Leaving Cert. Art Course...all to the good.
I hope to contact a few helpful people in advance - Stendhal Stendhal of the Art Gallery might put me right on one or two things. Then I might spend a few days in Belfast early in November. There is this Ulster Academy to investigate. And thank you for the catalogue of the Six Painters' Show. I might get a lift to Belfast to have a look at it before the thirtieth.
When you say Belfast, do you mean, literally, Belfast, or something a little wider?
I had two nice Capuchins at the Oireachtas show the other day, one a Father John, from Cork. Are you still adding to the art collection? I have a nice little George Campbell-Fenian Street- still unsold!
Please tell Father Gerald that Mr McCann of Cork was along with he Gibson Bequest party and purchased the Jerome Callaghan and Muriel Brandt's Schoolchildren for Cork.
Mile Beannacht,
Karin Allen

--- Page 33 ---
Jail Taller & Sheehy
Nov. 1948
PERSONALITIES
HARRY KERNOFF
Harry A. Kernoff, R.H.A., was born London in 1900 of a Russian-Jewish father and a Spanish-Jewish mother. He is a mural, a master of the woodcut and a charming illustrator of books. He came to Dublin when he was fourteen and studied at the Metropolitan School of Art. He won the coveted Taylor Scholarship at twenty-three, and since then has held fifteen one-man shows in Dublin, and others in London, Paris, Amsterdam, Chicago and New York. His pictures hang in foreign galleries. In height he is about five foot nothing, and lacks only a fair sized mushroom to sit upon to look the spit and image of a leprachaun. His hobby seems to be the telling of 'shaggy dog' stories.
'Almost drawing-room,' he titters by way of introduction to each and every one of them. You will always know him by: something more than a handbag and less than a briefcase. If you catch him in an unguarded moment—which his difficult—you will discover that this pouch contains, not the tools of his trade, but an exhaustive file of Dublin street songs, which, if Mr. Kernoff attocks to bad tenor voice. In conversation he can be witty in the extreme—generally at his own expense; he never, of his own accord, talks shop, and never never makes a really unkind comment on a colleague.
'At any rate he can draw' is about the most he will say. Those who can't draw he doesn't mention. Force Mr. Kernoff to his own subject and the story is likely to come in a series of axioms. Beauty is the artist's conception of nature in a rhythmic form, emphasising his viewpoint with controlled emotion and with perfect balance, like the wavering of a compass needle . . . Continual experiment is the only way to progress in artistic expression . . . Memory work is of paramount importance . . . Just as a man is perhaps a symbol of a greater thing, so a picture should be symbolic humanity . . . Design is the fundamental picture in any work of art.
. . . The picture is infinite in range . . . Genius is a perfect harmony of the emotions and mind . . . The painter must have faith in himself, or else inhibit himself by listening to everybody and not to himself . . . The picture appeals to the greater the number of the individuals the picture . . . More nonsense is written about painting than about any other subject . . . Art criticism in Ireland? You ask is it bad? But there isn't any.
Beginning in a period of extreme orthodoxy, Kernoff was first looked upon as an amiable eccentric, and, as art critic Edward Sheehy has remarked in his penetrating preface to one of the artist's books of woodcuts, the fact that Kernoff's work is not general for granted is due, nor is he generally the case where the pioneer is overtaken by the general practice, but to his persistence and continuous development along the line of his original innovation. Kernoff's individuality as a painter cannot for a moment be due to the emphasis he places on form ("design is the fundamental necessity in any work of art"). As Sheehy remarks: 'Clarity of vision,
the pundits of the Dublin art world. Since then Kernoff has done a woodcut of this picture which is reproduced with this article. While the meaning may be vague, there can be no doubt as to the excellence of the composition. Even when joking Kernoff's deep sense of design evidently does not desert him. As I have pointed out, Kernoff's experiments have led him in many directions. Several of his admirers have deplored this, and some have fallen away, coming, I suppose, to regard him as a sort of jack of all trades. However, when one remembers Kernoff's passionate belief that a picture should express a mood and that these are infinite in range, one knows that he is happy in the knowledge that he eludes a label. As he told the Dublin Rotary Club some ago: If the painter decides to become a recipe-artist, he is destroying his own creative power; and though he may become well-to-do materially, he will, inevitably, be finished aesthetically. Mr. Kernoff despises those who would place artists in different compartments of the mind, holding that such people are lazy thinkers. That some people should prefer his Dublin street scenes to his woodcuts, makes little or no difference to him. He is catholic in his tastes and gets as much aesthetic kick from one type of work as from another. He is perfectly satisfied if in each new work he propogates his own point of view, his own emotional reaction to the environment, person or persons responsible for the mood which resulted in the work. In spite of this militant independence of spirit, Mr. Kernoff is an intensely sociable being, and likes to please as many people as he can. Artistic cliques do not interest him, but the people with whom he comes in daily contact do. While, as he says himself, a creative man can paint to please himself aesthetically, he also wants other people to get some pleasure from the beauty and manifestations of nature which he notes. No man can live in a vacuum and be sane. We have remains to all gregarious and shall remain so to the end. Visit Kernoff's st
—Nimrod.
This is the first in a series of profiles in which NIMROD will deal with leading artistic, theatrical and sporting personalities.
HARRY KERNOFF
in his studio
the refusal to poeticise, a sanity expressed through a careful and untemperamental craftsmanship, these are the predominant qualities of Kernoff's work. And if he has limitations, and if his work appears hard, it is because of these. He is an Academic without being in any directions, without ever letting the experiment run away with him. He is as sincere and earnest an artist as one could wish to meet, and yet is capable of the most elaborate jokes, even on the R.H.A. Remember his 'Composition In Space-Time'? But lately elected a full member of the Academy, he foisted this fantastic piece on the selection board. He had the satisfaction of seeing it hang to puzzle

--- Page 34 ---
Right To Lane Pictures Asserted
The Earl of Rosse (who presided), addressing the annual general meeting of the Friends of the National Collections of Ireland. Also in the picture are (from left:—The Taoiseach (Mr. Costello), Mr. R. R. Figgis, Hon. Secretary, and Senator Eleanor Butler, B.Arch.
We have not yet secured the return of the Lane pictures and we can say that the artistic conscience of the British is uneasy at the retention of those pictures, and there is a growing feeling that the right lies, with us," said the Taoiseach, Mr. Costello, proposing the adoption of the report at the annual meeting of the Friends of the National Collections of Ireland, in the Municipal Art Gallery, Dublin.
The Taoiseach paid a tribute to those who during the last 27 years had done so much work for the preservation of cultural ideas and artistic conception in this country. The Society, he said, had done outstanding work in that direction through difficult times of political stress, when economic considerations weighed so heavily on the people.
The importance of art, he said, was being increasingly recognised as being something that could not be ignored in these grossly materialistic times. The amount spent by other countries in the cultivation of art was much more, despite the economic conditions in those countries following the war, than here.
ARTISTIC TRAGEDY
Referring to the acquisition by the Society of a work by Vuillard, he said that this recalled the artistic tragedy of legal spoliation which Ireland had undergone at the hands of her neighbour in regard to the Sir Hung Lane bequest. Among the 39 pictures in the possession of a British gallery, and which were not yet exhibited, was one by Vuillard.
Mr. Costello praised the work of the late Society Sarah Purser, who founded the Miss Sarah Purser, who and the efforts of the Society to have the Lane pictures returned.
"Whatever the legal claim or moral rights," he continued, "it would be a generous gesture on the part of the British, through their Government, to hand them over to the Irish nation."
"We are very tenacious as a people, time means nothing to us, and the Irish people will never give up their claim or their efforts on behalf of their claim to have the Lane pictures."
The Taoiseach stressed the need for co-ordination in the administration of the Public Galleries, and announced that the matter would be examined in the near future.
He added that proper photographic reproduction of works of art, housed in the various galleries, should be
made for the benefit of the tourists and of those who did not know of their existence. He emphasised the importance of encouraging Irish artists, and said that it was necessary to keep in close intellectual touch with the development of Continental art. Without this there would not be the full flower and bloom of their own culture.
Senator Eleanor Butler, seconding, said that suitable buildings as a necessary for works of art were the base of a National Theatre, a Concert Hall, and other buildings for contemporary art works, as a basis for their culture. This was the only way for practical encouragement of the arts, and the Government should promote such art was richest the State was the principal patron.
The Earl of Rosse, who presided, said that the unsatisfactory state of some of the national collections was due in the past to public and official apathy and he hoped that this would be rectified in the future.
A nation's final civilisation was judged, he said, by its culture and art and not by its wealth or its modern sanitation.
The annual report read by the hon. secretary, Mr. R. R. Figgis, recorded
a record number of acquisitions by the Society during the year, including an artistic gouache by Vuillard; the original plaster cast for the head of Deirdre by Andrew O'Connor; two etchings by the late Percy Gethin and a still-life by Bores.
The time had come, the report continued, for more co-ordination in the administration of their public galleries and for some scheme to be devised whereby Charlemont House might be enabled to justify the retention of the word "modern" in its official title. The Council also suggested that the time had come for good photographs and reproductions of all that was outstanding in their national collections.
OFFICERS ELECTED
The following officers and council were re-elected: president, the Earl of Rosse; vice-presidents, Dr. T. Bodkin, Chief Justice Maguire and Mr. C. R. Curran; hon. sec., Mr. R. R. Figgis; hon. treasurer, Capt. D. Malcolm Frazer; Council—Messrs. J. Brennan, H. Briscoe, R. Cussack, Mr. G. Henry, Miss E. Hanlton, Mr. P. F. Hurlong, Miss E. Hamlon, Mr. J. S. Higgins, Miss E. Hone, Messrs. J. S. Kelly, J. Maher, Senator E. A. Maguire, Miss N. McGuinness, Messrs. Dudley Westropp and T. de Vere White.

--- Page 35 ---
Irish Artist
Designs
Window For Eton
Miss Evie Hone, the Dublin artist, has been commissioned to design and execute for the Provost and Fellows of Eton a stained glass window for the east end of the college chapel, which suffered bomb damage during 1940.
Miss Hone told the Irish Times last night that the window was unusually large, being about 30 feet high and 32 feet wide. The subject matter of the design will be the Crucifixion and the Last Supper, which will occupy 18 lights.
Miss Hone's design has been accepted by the Provost and Fellows of the college and she will go to Eton soon to supervise the work. The window has been boarded up since 1940.
A notable design which Miss Hone undertook for the Irish Government in 1938 was for the 22-feet square window in the Irish pavilion at the World's Fair. She has designed a number of stained glass windows for churches throughout the country and is at present engaged in work on the window of a chapel in Warwickshire.

--- Page 36 ---
with all good isoles
and Christmas blessing
from C.S.
The Spanish Arch
galwy
Oak Tree from Battle Abbey,
swask - Camed in galwy
by Clare Shendan 1649

--- Page 37 ---
[ALTO file: no text lines]

--- Page 38 ---
ART —By James White
IN MEMORY OF
ST. LEO 1500 1951
JAMES SLEATOR
JAMES SLEATOR was not a spectacular artist. He was not even a spectacular president of the Academy. He followed the tradition of the best academic artists in Ireland who honestly painted the things that interested them and by honestly, I mean that if the things in question happened to be dull then the painting resulted in dullness too.
But Sleator was a pupil of Orpen and Orpen was a great man. His ability to draw with a precision which produced a direct, crisp line that stated visual facts exactly and to paint with a fine resemblance of the real surface quality of cloth or flesh so that one became immediately aware of contact with reality, marked him out as a prodigy.
One can think of other men with this gift, Sir Gerald Kelly for instance, who yet lacked Orpen's surgical-like quality of laying bare the truth about the world he illuminated in his pictures. Orpen's genius was perhaps best exemplified by that confidence which showed itself in confidence that the artist never succumbed to the temptation to embellish unnecessarily.
CANDOUR
Sleator was an Ulsterman and thus not lacking in candour, so Orpen's influence needs no further elaboration when one has stated that Sleator became his collaborator on the painting of many of his important pictures.
During the past few years James Sleator worked mainly on portraits, but he also painted still lives of flowers and interiors. One could never class him among the experimentors, but all he did was distinguished by his faithful regard for the quality of surface values
and his flower studies always made lovely colour compositions.
One or two of his interiors failed because the artist allowed himself to see the subject-matter in terms only of light and shade. One in particular is based on the effect of sunlight pouring through a window onto a few objects. The moment one considers the picture as a series of forms one is shocked to find that it lacks all order and that one half of the canvas is merely a space on which reflections are recorded.
SUPERB
The portraits are superb, particularly those of Jack Years and of Orpen. James Sleator was a kindly man and while he never shirked the real issue of portraiture which is to illuminate character, neither did he use tricks which might give a sense of caricature.
He shows Orpen with a nicely balanced sense of proportion for his appearance and for his profession as a painter, and I rather fancy that we have here a more comprehensive study of Orpen the man than in any of the self-portraits which probably erred by being too introspective.
I disliked the exquisitely painted yellow boy for I felt that it epitomised all the faults of popular society portraiture, the over-embellished mauve background, the too satiny suit, the too sophisticated expression of the child—in fact all the tiny vulgarities calculated to earn popular favour.
I like to think that James Sleator turned his back on this sort of thing and on a wider fame and was satisfied with Dublin and with workmanlike portrayals of real people, like Lennox Robinson, Rutherford Mayne and the rest, all of which are to be seen at the Victor Waddington Gallery.

--- Page 39 ---
Irish Independent
16/3/50
New President
Of R.H.A.
Sean Keating, R.H.A.
THE appointment of Mr. Sean Keating as President of the Royal Hibernian Academy, to fill the position created by the death some time ago of Mr. James Sleator, was announced last night.
Mr. Keating, who is a native of Limerick, has had a very successful career as an artist and painter, and his work has been displayed in many parts of the world. He has had pictures exhibited in public galleries in Dublin, Glasgow, Bolton, Brussels, Rome, New York, and in many private collections.
Among his more notable achievements was the winning of the £100 prize at the New York World's Fair in 1939, when his work, "The Race of the Gael," was chosen from among 158 other paintings. The exhibition displayed two representative paintings from 79 countries.
When he visited New York in 1939 he was in charge of the Irish Building Exhibition, with Mr. Maurice McGonigal. His work has included many fine landscapes, but his main bent is for portraits and he has painted many well-known people during his career.
Professor in the National College of Art, Mr. Keating began his studies in the Limerick School of Art, and gained a scholarship to the Dublin College of Art. He also had the distinction of winning the Taylor Scholarship of the R.D.S. Under the late Sir William Orpen he spent some time in London, returning to Ireland in 1916.
In 1948, when Mr. Keating paid a visit to Limerick, he received the Freedom of the City. He attended there as guest of honour at the opening of the new Art Gallery.
It was also announced that Mr. Maurice McGonigal, R.H.A., has been appointed as Keeper of the Academy. The late Mr. Sleator had occupied the two positions.

--- Page 40 ---
SOCIAL NEWS FROM THE SOUTH
AT MUNSTER FINE ART CLUB EXHIBITION
Professor Denis Gwynn opening the exhibition. (L. to r.) :
Mr. Seamus Murphy, well-known sculptor; Mr. S. McCana,
President of the Club and Principal of the School of Art;
and Mr. Marshal C. Hutson, noted Cork artist.
Mr. Seamus Murphy, the celebrated Cork Sculptor, and
his head of St. Patrick, which was an exhibit at this
show held at the Cork School of Art.

--- Page 41 ---
THE TRANSFIGURATION
MOUNT ARGUS.
JOHN HOGAN, :: Sculptor.
1800 :: 1858.
The Transfiguration.
Mount Argus, Dublin.
By John Hogan,
THE IRISH SCULPTOR.
1800 :: 1858.
Transcendent beauty all God's own
Transfigured brightly shone
On Thabor's crest one glorious day
When triumphs great were done ;
A glimpse of those majestic scenes
Unseen by mortal eyes.
Great wondrous pictures dazzling there
Beyond God's mirrored skies.
Transfigured on Mount Thabor's crest,
Enraptured there they knelt,
And Jesus brighter than the stars
That little while they dwelt ;
Stricken blind with luminous brightness
Rays bursting from each pore :
These pores that sweat the bloody sweat
When sorrows great He bore.
More brilliant than ten thousand suns
In that passing glimpse He gave
Of Christ the Victor ! Christ the King !
Triumphant o'er the grave,
Majestic, noble, mighty, strong,
Confounding things of earth
That gave Him lash and cruel cross
And mocked His sacred worth.
With Hubert, pious holy man,
I climbed Mount Argus stair,
To see triumphant work of art
In purest marble there.
Transfigured on Mount Thabor's crest
From Hogans' grand design,
That wondrous group from wondrous brain
Inspired by God Divine.
Transfigured on the mountain crest,
Think how he caught the gleam—
That lit the mind while carving true
That precious hallowed theme.
Christ's hand upraised, the flowing folds,
The form, expression, face,
In this master work of Hogan
There its beauties fondly trace.
Pause in wonder at Mount Argus,
Think on Hogan, great and true,
In his glories and his longings,
All the work he carved for you.
Track him o'er the narrow pathways,
See the triumphs grandly raised,
In those master work he left us,
Let his name be proudly praised.
Pause ! and wonder in Glasnevin,
As you search for Sculptor's grave ;
See it weed-grown, cold, forgotten,
Ask ? What has Erie done to save.
Done to save a golden memory,
Chiselled deep in sculptured stone,
Grave for mercy. Strive for better,
May the nation now atone.
"BENMORE."
GLENARM,
CO. ANTRIM, 1928.

--- Page 42 ---
TUAM ART EXHIBITION 1950.
1.✓
Casa De Camro, Madrid.
David Clarke
2.✓
Dawn, Hollyhead.
Jack B. Yeats
3.✓
Punchestown, 1935.
Maurice Mac Conghail
4.✓
Balscaddon Bay, Howth, Co. Dublin.
" " "
5.✓
May Morning
Richard J. King.
6.✓
The Terrace
W. J. Leech
7.✓
Skibbereen
Jack B. Yeats
8.
The Mill on the Low, Killarney.
Sean O'Connor
9.✓
Above Molly Lyne's, Glenbeigh.
Sean O'Connor.
10.✓
The Jobber
Sean Keating.
11.✓
The Hurler
oo0oo
Sean Keating.

--- Page 43 ---
Evening Mail 10/11/50.
Memorial Stained
Glass On Show
KATHERINE O'BRIEN'S stained
glass windows, on view at 24 Upper Pembroke Street, Dublin, are lovely in conception, colour and symbolism.
To be erected in Lissadell Church, Co. Sligo, by Lady Gore-Booth in memory of her sons, Hugh and Brian, who lost their lives in the late war, the windows symbolise the courage and love which culminated, for them, in the supreme sacrifice.
Below the feet of the two figures the evil of the world is shown in the form of snakes and bats, with the dove of peace ensnared in a net, and is executed in dark and sombre tones. The figures, in contrast, are bright and colourful as the courage and love which they symbolise and the background, particularly that of the sea, is a symphony of colour. In the extreme upper portions of the windows the souls of young men rise to everlasting light. These windows have been designed with an economy of line and depth of colour and tone which emphasise their spiritual significance.
A smaller window, showing Christ blessing children, is designed for the baptistry of the Parish Church of St. John the Baptist, Clontarf. As in her other work, Miss O'Brien here, also, shows a singular awareness in the suitability of her design.

--- Page 44 ---
Perhaps you have not seen this?
FIVE IRISH ARTISTS
RICHARD KING—trained under Harry Clarke as a stained glass worker, but glass is only one aspect of his art. Has been long known as an illustrator and his painting has benefited from the discipline of the designer. Some of Eire's postage stamps are his work.
PASTELS, DRAWINGS, INKS, ETC.
1 The Resurrection
2 The Fall
3 Man of Sorrows
4 Woman of Sorrows
5 "Weep not over Me"
6 Gethsemane
7 The Triumph of St Patrick
OILS
8 Christus
9 The Meeting
EUGENE JUDGE—born Aghamore, Co. Mayo, Eire, 1910. Studied under André L'hôte and at Académie Chaumière, Paris. Exhibits regularly at annual exhibitions in Dublin.
OILS
10 The Visitation
11 The Flight into Egypt
12 "O ye of little faith"
COLIN MIDDLETON—born Belfast, 1910. Studied at Belfast and at the Slade. Regular exhibitor in annual exhibitions in Dublin. Has also shown in London, Amsterdam and New York.
OIL
13 Madonna in Red (1942)
DANIEL O'NEILL—born in Belfast, 1920. Regular exhibitor in Dublin. Has exhibited in London, New York, Amsterdam, Paris and Brussels. "A prodigiality; he sprang into the arena fully armed"
said Envoy. Educated himself on reproductions of Old Masters, he had a job by day and painted at night for many years. Now devotes his whole time to painting.
OILS
14 Gethsemane
15 St Jerome
16 Ecce Homo
17 Mother and Child
18 The Disciples at Emmaus
19 Adoration of the Magi
20 Salome with the head of St John the Baptist
21 Lot and his daughters
22 Elijah in the Wilderness
23 The Adultress
FATHER JACK P. HANLON—a curate in a country parish near Dublin. Was born in Dublin in 1913. Educated by the Jesuit Fathers at Belvedere College and at the National University and Maynooth. Spent much time abroad studying art in Belgium and Spain, and with André L'hôte in Paris. Has had one man shows at the Victor Waddington Galleries, Dublin and exhibited in London, New York, and Amsterdam. Recently executed a mural commissioned by the Irish Government for Chicago. His ambition is to work for churches.
OILS
24 Madonna after Rubens
25 Madonna
26 Annunciation
27 St Michael
28 Madonna of the Tulips
29 Madonna with Bird
30 Holy Face—from a Gothic carving
WATERCOLOURS
31 Pietà
32 Madonna of the Universe
33 Madonna of Spring
This exhibition has been collected and is being shown by kind permission of the Victor Waddington Galleries, Dublin.

--- Page 45 ---
JOSEPH BRENNAN COLLECTION
PAINTINGS BY
WALTER OSBORNE, R.H.A.
NATHANIEL HONE, R.H.A.
SCULPTURE BY
ALBERT POWER R.H.A., JEROME CONNOR
AND OLIVER SHEPPARD, R.H.A.
PRIVATE VIEW 3.30 p.m., TUESDAY, 7th NOVEMBER, 1950
The DAWSON GALLERY
4 DAWSON STREET, DUBLIN
EXHIBITION OPEN DAILY 10-5.30, SATURDAY 10-1, UNTIL THURSDAY, 16th NOVEMBER

--- Page 46 ---
PERSONALITY PARADE
APRIL, 1947.
18
No. 10. MISS MAY POWER
By GERALDINE COSTER
A N understanding and love of art came early in life to May Power. It was, after all, only natural, since daily opportunities offered themselves for the observation of one of Ireland's finest sculptors at work, the late Albert Power, May's father, and creator of such well known works as the memorials to Tom Kettle and Countess Markievicz in Stephen's Green, Dublin, where they stand, amid the busy crowds, silent reminders of the man who spent a lifetime devoted to producing works of lasting beauty. May's first lessons in art were from her father, and it was he who encouraged her definite artistic learnings. Under his guidance she came to appreciate the beauty of ancient and modern sculpture.
As she grew up, it came as no surprise to her family that she should express the desire to take up this work seriously. Therefore, she entered the School of Art, in Dublin, and here, an unusual coincidence occurred. May's teacher was Oliver Shepherd, who had numbered Albert
THE MOTHER OF FAIR LOVE.
Power among his pupils many years before.
Along with her studies, May helped her father to cast his work, thus gaining valuable experience in her spare time. Some of the fruits of May Powers early study can be seen in the photos re-produced with this article. She is indeed a worthy successor to her father.
The high relief, titled "The Mother of Fair Love" gives a good idea of the essence of May Power's work. This is her own idea of the Blessed Mother and Child, done without a model and possessing a mystical beauty, which makes an unforgettable impression.
The sculptor visualises this work in a wayside shrine and cherishes the hope that some day this will be realised. And certainly it is a pity that such a beautiful work should be lost to the public, with its tender link between human and divine
A BEAUTIFUL HEAD STUDY.
It took May Power nine months to complete this relief, which is modelled in plaster, though her idea is to have it cast in bronze. "Unfortunately," said Miss Power, "with a wry smile, that will have to wait, as it costs a lot of money." May Power is proud of the fact that every work she has submitted to the Royal Hibernian Academy for the last ten years, has always been accepted. She considers that this has given her a great deal of encouragement, and though she intends to hold an exhibition of her work at some future date, for the present she is quite content to exhibit only at the Academy.
May, who is a Curator of the Academy of Christian Art, has had the pleasure of modelling the head of that great Irishman, Count Plunkett, founder of the Academy, Knight Commander of the Holy Sepulchre, and a great patron of Art. In the photograph of this magnificent piece of sculpture, May Power has caught the aged Count's expression of intellectual vigour perfectly. Looking at it, one is reminded of the Count's plea for a high level of artistic
GEORGE NOBLE COUNT PLUNKETT.
April, 1947.
endeavour in his address to the Academy of Christian Art in 1934, words which, though spoken nearly thirteen years ago, ring even truer and more urgently to-day.
"This fanciful race of ours should uplift itself from material considerations and developing its many gifts, escape the crude tendencies common to the post-war world."
How well this applies to the present era with its stress on vulgarity and lack of idealism!
I asked May Power, how, exactly, a sculptor models a head. It turned out to be far more difficult than I had, in my ignorance, imagined.
First, an armature of wood and lend, almost like our own bone construction is built. On this, the sculptor builds up the plaster (as sculpture necessitates a great deal of dabbling in cold water, it is an unpleasant business in cold weather) which is moist and can be worked like ordinary plasticine, she then studies the action of the models head to determine characteristics and expression.
ANOTHER FINE STUDY BY MISS POWER.
PERSONALITY PARADE
19
MISS POWER AT WORK ON A STUDY OF MISS KATHLEEN O'CONNELL, SECRETARY TO AN TAOISEACH, MR. E. de VALERA.
Of course, a thorough knowledge of anatomy is essential for a sculptor, and, though a rough sketch of a head can be built up in about four hours, it generally takes several sittings to complete the work. While it is not being worked on, a sculpture must be covered with damp cloths, a tricky ffair, as otherwise, an unfinished head would dry rapidly.
May Power, who calls sculpture "a very satisfying and interesting work" had intended to spend some time away in France and Italy, studying art, in 1939-1940, but unfortunately the war put an end to her plans. Now, she is too happy working in Dublin, where she has a studio, to have any thought of leaving it for the present.
At the time of writing, the sculptor is working on a head of Miss Kathleen O'Connell, secretary to An Taoiseach, and she has many other plans in mind for the coming year. Like her late father, whose fifteen huge
figures in granite, around the dome of the church at Carndonagh, Co. Donegal, are a testimony to his love of hard work, May Power possesses the same creative energy, and will, we believe achieve bigger and better things in the years to come.
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Read particulars on page 22.
Visit our new Gallery
this month it houses the much talked of group exhibition "School of London" which includes, regardless of nationality, the work of the most important artists living in England to-day.
THE VICTOR WADDINGTON GALLERIES,
8 SOUTH ANNE STREET, DUBLIN

--- Page 47 ---
The Advocate 19/9/45.
Death of Irish Sculptor
Mr. Albert Power Famous Artist
MR. ALBERT POWER, Ireland's greatest present-day sculptor, has died in Dublin at the age of 62. He was the sculptor of national and other memorials throughout the country, and did busts of numerous distinguished people.
Mr. Power studied at the Metropolitan School of Art in Dublin, and in London he won the gold medal of the National Society of Art. He was elected a member of the Royal Hibernian Academy of Art in 1919.
In an appreciation in the "Universe," Clement Dane says that many splendid memorials throughout Ireland will ensure lasting fame for Albert Power, Ireland's greatest sculptor, who has died in Dublin. But, deeply religious, he found his greatest joy in works such as his carvings of Christ the King on the facade of Mullingar Cathedral and the statues of the Sacred Heart, St. Patrick, St. Brigid and St. Columcille recently made for a new church at Carndonagh, Co. Donegal.
When the Lord Mayor of Cork, Mr. Terence MacSwiney, was dying in Brixton Gaol, Power visited him and modelled the
dying's man's head in a piece of wax concealed in his hand, which inspired one of his best pieces of work.
The work he loved best was a little Madonna, now in All Hallows College, that he made over 20 years ago.
POOR ART IN CHURCHES
Power was always very critical of the amount of money expended on poor church art. He contended that it was better to have one small statue by an authentic artist than several cheaper and bad specimens of commercial art—and who will not agree?
He was widely beloved among artists, and the monument by which he is best known to the general public expresses his most endearing qualities. This is the monument in Galway to the poet and one-time London civil servant, the late Padriac O'Conaire, a little man in vagabondish attire, seated on a stone wall among the living things of field and air.
Power put something of his own personality into that figure—his own whimsical humanity and understanding of human beings.

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CATALOGUE
EVIE HONE
EXHIBITION
THE DAWSON GALLERY
4 DAWSON STREET
DUBLIN
PAINTINGS (OIL).
Gns.
1.
Landscape with Tree ...
...
20
2.
The Farm ...
...
15
3.
Landscape with Ruin ...
...
17
4.
The Garden Seat ...
...
6
GOUACHE.
5.
Christ falls the third time ...
...
20
6.
The taking down from the Cross ...
...
15
7.
The Crucifixion ...
...
15
8.
Christ is laid in the Tomb ...
...
15
9.
Fishing—Youghal ...
...
10
10.
Warehouses—Youghal ...
...
10
11.
Harvesting ...
...
6
12.
The Reapers ...
...
5
13.
The Wood ...
...
6
14.
The fallen Tree ...
...
5
15.
Near Lough Mask ...
...
8
16.
Apple Trees ...
...
8
17.
Cherry Tree ...
...
6
18.
Fishing Boats—Youghal ...
...
5
19.
The Blue Tree ...
...
5
20.
Evening, Lough Mask ...
...
6
21.
Co. Galway ...
...
6
22.
Woman in Bed ...
...
7
23.
Village Street ...
...
4
24.
Path in a Wood ...
...
6
25.
Woman with Dog ...
...
5
26.
Youghal ...
...
4
27.
Fishing Boats ...
...
4
DESIGNS FOR STAINED GLASS
AND DRAWINGS.
Gns.
28.
The Life of St. Andrew ...
...
5
29.
The Nativity ...
...
5
30.
Baptism of Christ ...
...
5
31.
Wedding Feast ...
...
6
32.
Christ among the Doctors ...
...
4
33.
From a stone carving at Cashel ...
...
8
34.
From a Cross in Kells' Churchyard ...
...
7
35.
From a Stone in Kildare Cathedral ...
...
7
36.
From a carving in Kells' Churchyard ...
...
6
CARTOONS.
37.
The Crucifixion ...
...
25
(For Clongowes Wood College)
38.
The taking down from the Cross ...
...
25
(For Clongowes Wood College)
39.
The Life of St. Andrew ...
...
15
(For Howth Church)
40.
My Four Green Fields ...
...
—
STAINED GLASS.
41.
My Four Green Fields ...
...
—
(Lent by Mrs. F. H. Boland)
42.
The Garden Seat ...
...
8
43.
Christ meets the Women of Jerusalem ...
...
12
44.
Path through a Wood ...
...
12
45.
The Betrayal ...
...
14
46.
St. Christopher ...
...
—
(Lent by Mrs. Connell)