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Irish Examiner
26-05-2025
- Entertainment
- Irish Examiner
Mainie Jellett and Evie Hone: Irish women who were ahead of their time
Few artistic relationships have been as long or productive as that maintained by Mainie Jellett and Evie Hone. In London, Paris and their native Dublin, they created some of the most innovative Irish art of the early 20th century, often in the face of critical opprobrium and the bewilderment of their peers. A broad selection of their work as pioneers of abstraction and Cubism in this country is currently showing at the National Gallery of Ireland, in the exhibition Mainie Jellett and Evie Hone: The Art of Friendship The two had much in common. Both came from well-to-do Protestant families, and they were born just a few miles apart, Hone in Donnybrook, Co Dublin in 1894, and Jellett in Fitzwilliam Square in Dublin city centre in 1897. 'But their personal experience was a little different,' says the exhibition's curator, Dr Brendan Rooney. 'Hone's parents both died in her childhood, whereas Jellett's family were what you might call more conventionally secure. 'Also, Hone contracted polio at the age of 12, which left her very compromised. A lot of her early years, and particularly her teen years, were spent undergoing various medical procedures in England and elsewhere. "So it was really tough for her, notwithstanding her privilege.' Both determined early to pursue careers in art. Jellett studied under William Orpen at the Metropolitan School of Art in Dublin, before proceeding to the Westminster Technical Institute in London. It was there that she first encountered Hone, who had already spent some years in London, studying at the Byam Shaw School of Art and the Central School of Arts and Crafts. At the launch of Mainie Jellett and Evie Hone: The Art of Friendship at the National Gallery were Dr Brendan Rooney, head curator; Niamh McNally, curator; and Dr Caroline Campbell, director. Picture: Naoise Culhane 'At Westminster,' says Rooney, 'they would have had a very academic training, with an emphasis on drawing. Both studied under Walter Sickert, among others.' Hone moved to Paris in late 1920, and Jellett followed a few months later. Both were keen to explore new ways of art making. 'They set themselves up as students in this incredible, creative, post-war environment. I think it was in Paris that their friendship really began.' Initially, they studied under André Lhote, but they soon bored of his brand of representational Cubism, which mainly dealt with landscapes and still life. 'Abstraction was where they wanted to go,' says Rooney. 'It was more extreme, and more reductive, I suppose, as an art form. So they approached Albert Gleizes, and asked that he become their tutor. Gleizes had just turned 40. He was still in the process of formulating his own aesthetic and his own ideas and his own philosophy about art, and probably the last thing he needed was two overenthusiastic Irish students arriving on his doorstep.' Gleizes had no other students. 'So Jellett and Hone moved into this much more intimate situation, where they became his collaborators, really, and played a key role in the formulation of his ideas.' Jellett and Hone travelled back and forth from Paris to exhibit in Dublin, where their work was often seen as controversial, and never more so than when Jellett exhibited a painting called Decoration at a Society of Dublin Painters exhibition in 1923. 'Decoration was met with anything from suspicion to downright hostility,' says Rooney. 'George Russell - a painter himself, as well as a writer and critic - was among the most outspoken critics. He dismissed Jellett's work as 'artistic malaria.' The Irish Times published a photograph of Decoration and a photograph of an onion side by side, and described her painting as a 'freak.' I mean, this was a really hostile and adversarial sort of language.' Evie Hone, The Cock and Pot. The two artists responded to the disparagement of their work in markedly different ways. 'Jellett was emboldened. She really turned to proselytizing about modernism. She lectured. She wrote. She was very industrious. But Hone, I think, was crushed by the criticism. She became more reserved. She even joined an Anglican convent for a year or so. Jellett would not have approved, but she was on hand to collect her friend when she left in January or February of 1927.' In time, Jellett and Hone's work became more accepted in Irish art circles. Jellett was even invited to design a series of murals for the Ireland Pavilion at the Empire Exhibition in Glasgow in 1937. Hone, meanwhile, took an interest in stained glass. She retrained at the College of Art and joined An Túr Gloine, the workshop and co-operative founded by Sarah Purser. Before long, she took on a number of significant commissions in the medium. One of the best known is My Four Green Fields, commissioned by the Department of Industry and Commerce for the Irish Pavilion at the 1939 New York World's Fair. The window now dominates the entrance hall of Government Buildings on Merrion St, Dublin. In Britain, Hone is celebrated for another work in stained glass, a magnificent Crucifixion in the Chapel at Eton College, Windsor, which she completed between 1949 and 1952. 'That was her magnum opus,' says Rooney. 'It was a colossal undertaking, involving thousands of individual pieces of glass, which she manufactured in Dublin and had shipped over. The window was incredibly well received, and is now accepted as being one of the finest pieces of stained glass created anywhere in the world in the 20th century.' Despite their success, the two never really became establishment figures. Towards the end of her life, Jellett founded the Irish Exhibition of Living Art, which challenged the dominance of the Royal Hibernian Academy's invariably conservative annual group exhibition. Hone was also involved, along with Norah McGuinness, Fr Jack Hanlon, Hilary Heron and Louis le Brocquy. Mainie Jellett, The Virgin of Éire. Sadly, Jellett fell ill with cancer and could not attend the first Irish Exhibition of Living Art in 1943. 'It's one of the great injustices that she never got to see it,' says Rooney. 'And she died before the second exhibition the following year.' Hone continued to work until her own passing, in 1955. The Irish Exhibition of Living Art outlived them both, surviving into the early 1990s. From the first, Jellett and Hone had insisted that older, more conservative artists – RHA stalwarts such as Seán Keating and James Sleator – be featured alongside younger, bolder creatives, and successive organisers were loyal to that spirit of broadmindedness. 'Jellett and Hone were aware of the importance of the collective,' says Rooney. 'They were inclusive, and emphatically so. They managed to bring people with them, which takes real skill, particularly in a Europe that was fragmented for all sorts of cultural, political reasons. It's a very impressive achievement.' Mainie Jellett and Evie Hone: The Art of Friendship runs at the National Gallery of Ireland, Dublin, until August 10. Further information:
Agriland
22-05-2025
- Entertainment
- Agriland
Blas na hÉireann rewards 3 Producers' Champions
Blas na hÉireann, the Irish Food Awards, has announced not one, but three exceptional individuals as this year's Producers' Champions. They are described as a trio of advocates whose work consistently shines a spotlight on Ireland's food makers and artisan producers. Caroline Hennessy, Santina Kennedy, and Anthony O'Toole are Blas na hÉireann Producers' Champions 2025. According to the awards organisers, each has their own unique voice and perspective, and their collective impact across Irish food writing, curation, hospitality, advocacy, and sustainability is both significant and impressive. Blas na hÉireann awards Chosen directly by Irish producers from across the country, the Producers' Champion title is awarded each year based on nominations from within the Blas na hÉireann network. It celebrates those who go above and beyond to support, elevate, and promote Irish food and drink. Founder and chair of Blas na hÉireann, Artie Clifford said: 'We are thrilled to announce these three unique supporters of Irish food as this year's Producers' Champions. 'Each of them in their own way has shown a serious and ongoing commitment to the people behind the produce. 'They share a deep understanding of what it takes to grow, make, market, and champion Irish food having all had a background in production, and therefore an understanding of the challenges that producers can face.' Winners Caroline Hennessy has been a steadfast voice in Irish food for over two decades. As an award-winning writer, author, MC, and editor, she has consistently used her platforms to tell the stories of local producers. With a sharp focus on sustainability and regional food systems, her work weaves the story of Irish food into media, events, and podcasts, helping producers reach new audiences and communities. Santina Kennedy is a food consultant and curator whose work brings Irish food to life through unforgettable experiences. Whether creating immersive dining events at the National Gallery of Ireland or developing food tourism strategies with Fáilte Ireland, Santina places Irish produce centre stage. Pairing food with art, place, history and storytelling, her focus is always on keeping local food, ingredients and their narratives central to a destination's offering. Anthony O'Toole, chef, writer, Slow Food advocate and lifelong champion of seed sovereignty, is behind some of the country's most forward-thinking food initiatives. From launching Fat Tomato, his organic, edible garden and horticulture project in Co. Wexford, to co-founding Taste Wexford and #thisisirishfood, Anthony's work connects chefs and producers through sustainability, education, and celebration of heritage ingredients. He is a sought-after adviser and an advocate for food as a tool for cultural connection and ecological resilience. All three now join the prestigious roster of Blas na hÉireann Producers' Champions – a list that includes: Darina and Rachel Allen; Rory O'Connell; John and Sally McKenna; Neven Maguire; Jess Murphy; Kate Ryan; Conor Spacey; Brian McDermott; Laura Bradley and Johnny McDowell from Indie Füde; and Simon Coveney.
Irish Independent
12-05-2025
- Entertainment
- Irish Independent
Kaleidoscope tickets to be won in National Drawing Day competition
Coordinated by the National Gallery of Ireland in partnership with more than 60 museums, galleries, arts centres and libraries across 23 counties, the annual event invites everyone to start getting creative. A nationwide programme of free events will take place on Saturday, May 17. This coincides with the start of biodiversity week, so Russborough House will be inviting budding artists to take inspiration from Russborough's natural surroundings. Paper will be provided in the reception for those who require it, and all finished drawings must be completed by the 5pm deadline on May 17, and should be presented on an A4 or A3 sheet. All the entries will then be entered into a draw, with the winning prize coming in the form of a weekend family camping pass for Kaleidoscope Festival, taking place at Russborough from July 4 to July 6. The National Gallery of Ireland will also host a packed programme of free events to suit every kind of drawer. Head of education at the National Gallery of Ireland Sinéad Rice said: 'Drawing day is for everyone. This year we celebrate National Drawing Day with a full programme of events at the gallery and at dozens of partner venues across the island of Ireland and online. You can check out your nearest venue, or draw from home, and make your mark this year.' For those who can't attend in person, a dedicated online hub at features a full list of participating venues and a wealth of drawing activities and creative resources.
Irish Examiner
10-05-2025
- Entertainment
- Irish Examiner
Paintings by old masters and contemporary artists in the frame
Art from Irish old masters to the contemporary will take centre stage at auctions by Morgan O'Driscoll, on Monday, Sheppard's, on Wednesday, and James Adam, on Thursday. The catalogue cover lot for the Irish Old Masters evening sale at Adam's is an arresting portrait of Jane Bryan of Cong by Maria Spilsbury (€8,000-€10,000). The London-born artist relocated to Ireland in 1813. Her work is represented in major institutional collections like the National Gallery of Ireland, the British Museum, Tate Britain and the Museum of Methodism in London. Spilsbury painted portraits, genre scenes and religious work. Her depiction Patron's Day at the Seven Churches, Glendalough, c1816, at the National Gallery is regarded as one of the most significant visual records of early 19th-century devotional life in Ireland. Maria Spilsbury's 'Portrait of Jane Bryan of Cong' at James Adam. The most expensively estimated painting in the sale is Figures by the Temple in the Park at Mount Merrion by William Ashford (€50,000-€80,000). The auction offers a choice of Irish landscapes by artists like James Arthur O'Connor, Thomas Roberts, George Mullins, William Sadler and George Barret. There are portraits by Hugh Douglas Hamilton, Nathaniel Hone, Robert Hunter and others, along with seascapes by Edwin Hayes, Richard Brydges Beechey and John Thomas Serres. The sale kicks off with six etchings and engravings by James Barry, offers a set of Malton's Views of Dublin and a preparatory scheme for the mythological murals at Lyons, Co Kildare, by Gaspare Gabrielli among 66 lots. 'Female Profile', Ya Tsai Chiu, at Morgan O'Driscoll. Two names from the east stand out in Morgan O'Driscoll's current online auction. Ya Tsai Chiu paints gracefully elongated figures that, though different, somehow recall Modigliani, while the sensitive female subjects of Zhao Kailin are endowed with a wistful, enigmatic quality. Both artists have wide appeal and thriving market records. The auction offers highly collectable works by Peter Curling, Donald Teskey, Michael Flatley, Evie Hone, Mr Brainwash, Dan O'Neill, Conor Fallon, Sean Scully and many other artists. A study The Grey Mare, Renvyle was painted in 1933 by Harry Kernoff. A le Brocquy tapestry titled Shimmering Light was woven by Donegal Carpets in 1956 and George Campbell's affectionate study of flamenco performers has all the elan of a man who could play the guitar as well as wield the brush. An Aubusson tapestry, Garlanded Goat, by le Brocquy, leads the Irish and International art auction at Sheppards with an estimate of €80,000-€120,000. Emer, a unique life-sized bronze horse by Anthony Scott, is a significant example of Irish contemporary bronze sculpture. Howard Helmick's 'Whiskey by the Hearth' at James Adam. Scott's sculpture, dedicated to the champion racehorse Sea the Stars, was unveiled at the National Stud by the late Queen Elizabeth during her State visit to Ireland. Sheppard's estimates this one at €30,000-€50,000. Among 166 lots is In Memory by Daniel O'Neill, which was last at auction at The Irish Sale at Christie's in 2007. It is now estimated at €20,000-€30,000. A rare work by William Crozier, Still Life with Jug and Shapes, painted in oil on a tin metal tray, is estimated at €2,000-€3,000. There is a similar estimate on a watercolour by Pauline Bewick, Taurus. Graham Knuttel's 'Still Life: Table Top' at Sheppard's. With art by Markey Robinson, Arthur Maderson, Evie Hone, Fr Jack Hanlon, Mark O'Neill, Henry Healy, Roderic O'Conor, Melanie le Brocquy, Michael Mulcahy, John Doherty, Michael Hales, Hughie O'Donoghue, John Luke and many more renowned Irish artists, this sale has much to hold the interest.
Irish Independent
06-05-2025
- Entertainment
- Irish Independent
AIB Portrait Prize seeks Wicklow applications after success of two Garden County artists
Run by the National Gallery, the AIB Portrait Prize highlights contemporary portraiture, welcomes entries from artists working in all media, both in Ireland and from Irish artists living abroad. The AIB Young Portrait Prize invites submissions from artists aged 18 and under. Hundreds of artworks by artists working across all disciplines are considered by an expert judging panel, to be announced in the coming months. Last year, Arann McCormack, from Greystones, received a highly commended prize in the AIB Portrait Prize 2024 with her piece 'I Never Promised you a Rose Garden', which delved into the intricate relationship that young women cultivate with themselves during their adolescence, highlighting the lessons they learn during this inherently traumatic yet creatively charged period of their life. Meanwhile in the AIB Young Portrait Prize 2024, Allanah McDonald Brown (5), from Arklow, was announced as a winner in the category for ages 6 and under, for her portrait 'Allanah the Mermaid'. Dr Caroline Campbell, director of the National Gallery of Ireland, said: "The AIB Portrait Prize and AIB Young Portrait Prize provide a platform to spotlight the exceptional talent of Irish portrait artists while encouraging the public to engage with modern Irish portraiture. "Each year, the works selected showcase an impressive diversity of artistic voices. We are proud to continue our partnership with AIB and look forward to seeing the inspirations and subjects that have sparked creativity among artists of all generations." The winning artist in the AIB Portrait Prize will be awarded a prize of €15,000 and a commission worth €5,000 to produce a new work for inclusion in the national portrait collection. Two additional prizes of €1,500 are awarded to highly commended works. The AIB Young Portrait Prize aims to foster and support creativity, originality, and self-expression in children and young people. There are four age categories: aged 6 and under, 7–11, 12–15, and 16–18. Winners in each category, as well as an overall winner, are selected from a shortlist of works. Prizes include a bespoke art box and a cash prize for the winner.
