Roderic O’Conor (1860–1940)

Roderic_o'connor_yellow_landscapeA Francophile, an exponent of Post-Impressionism, and one of the most famous figures in Irish Painting of the late 19th and early 20th century, Roderic O’Conor was born in County Roscommon and entered the Dublin School of Art (now the National College of Art and Design) at the age of 19. The following year, along with fellow artist Richard Moynan, he studied drawing and fine art painting at the Royal Hibernian Academy, before going to the Academie Royale des Beaux Arts in Antwerp.

After Antwerp, O’Conor spent time in Paris where he became inspired by the outdoor Impressionist painters like Pissarro and Sisley. As a result, he developed an interest in landscape painting and duly left Paris for the Breton village of Pont-Aven (a latter day Barbizon school), where he worked alongside several artists including the Post-Impressionist painters like Paul Gauguin. In some of his 1890s paintings one can see clear traces of the painting techniques which later became known as Fauvism and Expressionism.

Roderic_O'Conor_field-of-corn-pont-avenAt the Post-Aven school, O’Conor painted two portraits of Breton girls. And in his painting Field of Corn, Pont Aven (1892) his brushwork and colouring is reminiscent of the post-Impressionist Dutch painter Vincent Van Gogh, who had just committed suicide.

O’Conor spent more of his life in France than any other Irish painter and unquestionably belongs to the sunny ‘Post-Impressionist’ world of the turn of the century. Inspired and engaged by the use of colour, his bold colors and color combinations give his work the stamp of true individuality. Other members of “The Antwerp School”, like Walter Osborne and Nathaniel Hill (both more mainstream Impressionists) and Joseph Kavanagh (Dutch/Belgian style) tended to shy away from O’Conor’s colourism.

After 1904, O’Conor stayed in Paris for the next eight years. Soon his oil painting developed a rich vibrancy of color and a weight of impasto which became two of his mature hallmarks. His subject matter also changed. Instead of landscapes and outdoor artwork, he switched more to painted interiors, nudes and still-life painting.

In Reclining Nude Before A Mirror (c. 1909), the subject is portrayed in a harmony of soft reds, pinks and violets under dim studio light and is reflected in a mirror, in the Baroque tradition. Other female nudes by O’Conor include: Reclining Nude (1910), Perles Rouges (1915), Reclining Nude on a Chaise Longue (1915), La Femme Au Drap Rouge (1916), Seated Nude, Half Length (1923).

He died in Nueil-sur-Layon, France in March 1940.

The auction record for a work by Roderic O’Conor was set in 2005, when his oil painting, entitled La Lisiere Du Bois, was sold at Sotheby’s, in London, for £792,000.

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Paul Henry (1876-1958)

Paul Henry 4Henry’s landscape painting depicts the terrain of the west of Ireland reduced to its key essentials of sky, bog and turf. In his use of mass and color, he can be seen as the first Irish post-Impressionist artist – recording the traditional way of life but in a modern style. He is now regarded by many critics as one of the most influential Irish landscape artists of the twentieth century, and an important painter in the history of Irish Art.

Born in Belfast, Paul Henry attended the Belfast School of Art after which a family member financed a trip to Paris in 1889, where (like John Lavery) he studied at the Academie Julian and was influenced (later) by the rural realism and plein-air painting of Jean Francois Millet, the Barbizon landscape artist. Henry spent a relatively short period of time in the French capital but became one of its best-known Irish artists of the time. He also met Grace Mitchell his wife-to-be, and developed a particular skill in the use of charcoal, which became his favorite medium. In 1900, he moved to London, where he worked as a newspaper illustrator and art teacher. After a few years he returned to Ireland and moved to Achill Island off the County Mayo coast. It was here that Henry discovered his true style as an artist, painting scenes of Irish peasants digging potatoes, cutting turf cutting and harvesting seaweed.

In 1919, he moved to Dublin where – along with several other painters including Jack B. Yeats and Mary Swanzy – he quickly founded the Society of Dublin Painters. By this time, Henry’s style of painting began to focus on pure landscapes typically comprising mountains, a lake and some cottages, topped by a sky which takes up half the painting. In 1922, he gained his first international acclaim when the Musée du Luxembourg purchased his painting: A West of Ireland Village.Paul Henry 1

During the 1920s several of Paul Henry’s works were reproduced as posters or prints and helped to establish the standard scenic view of Ireland in tourist literature and in government publications. Even today, his pictorial naturalism continues to represent a vision of Ireland that many people regard as truly authentic. Henry was appointed a full member of the Royal Hibernian Academy in 1928 and became one of the first members of the  Royal Ulster Academy of Arts. He died in 1958.

Paul Henry’s paintings include:

In Connemara, Turf Sacks In Connemara, A Western Lough, Achill Cottages, Achill Head, Fishing Boat Achill, Blasket Island, Bog Cutting, Cloudy Day, Launching the Currach, Scene on Aran Island, Silent Waters, Thatched Cottages, On Killary Bay, The Road to the Mountains, The Tower, The Watcher, Turf Sacks, Turf Sacks By A Pool, The Roadside Cottages, Cottages by A Still Lough, Cottages by the Lake, Glencree, Dusk, Evening on the Bog, Misty Morning, Mountain and Lake, Mountain and Lake After Rain, Mountain Landscape West of Ireland, Grace O’Malley’s Castle, Head of an Old Man, Killary Harbour, Connemara Hills, Storm on a Connemara Lake, Cloudy Day Connemara, Windswept Trees Connemara, Lakeside Cottages.