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Irish and Irish American Resources Online
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Lesson
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Visual Arts
Matthew
Brady (1823-1896)
America's most sought-after portrait photographer and photographer of the Civil
War. He created portraits of eighteen Presidents. Brady established his own
studio in New York in 1844. In 1862, he started developing a powerful display
of the Civil War in black and white pictures with twenty teams of photographers
covering the major engagements of the war.
Nathaniel
Hone (1831-1917)
Born into a famous artistic family, Hone did not decide to paint until he was
twenty-one years old, after working as a railway engineer. In 1853, he moved
to Paris to study under Couture, an early Realist. Between c. 1857 and 1872
Hone moved to Barbizon, Bourron-Marlotte, Brittany, Normandy, Paris and Italy.
He finally returned to Ireland in 1872 remaining a 'Barbizon' painter and gaining
interest in
tone. He predominantly use greens and browns in his early landscape paintings
and became loose and fluid in his later landscapes.
Portraits
by Nathaniel Hone - Left: Banks of the Seine, Right: Fishing Boats
Returning Home, Irish Impressionists.
William
John Leech (1881-1968)
Born in Dublin, Leech studied art at the Metropolitan School of Art and the
Royal Hibernian Academy Schools. He quickly developed a passion for working
with sunlight and deep shadow. His works express 'plenairism' and Impressionism.
William Leech, A Convent Garden, Brittany, (1911), Irish Impressionists.
Richard Thoman Moynan
(1856-1906)
A contemporary of Roderic O'Connor, Moynan was born in Dublin and studied at
the Metropolitan School. He also studied under Verlat at the Academy in Antwerp
in 1883.
Richard Moynan, Girls Reading A Newspaper, (1885), Irish Impressionists.
Roderic O'Conor,
Portrait from Irish Impressionists.
Roderic
O'Conor (1860-1940)
Among his many titled names, O'Connor has been reffered to as an 'Irish Expressionist',
a 'Fauve', a 'master of color', and an 'Irish-American'. O'Conor was born in
County Roscommon and attended school in Dublin at the Metropolitan School of
Art and the Royal Hibernian Academy (RHA). Richard Moynan was one of his many
classmates at RHA. O'Conor followed the ideas of many other Irish artist by
moving to Antwerp and Paris. Spending more time in France than any other Irish
painter, he became the most interesting Irish artist in France. Tendencies of
Fauvism and Expressionism can be traced back as far as the 1890s in his works,
which puts him in the 'Post-Impressionist' category separate from his contemporaries.
His paintings "are characterized by his combinations of reds and greens,
and all the various shades of red, (pinks and lilacs, oranges and maroons, and
so on)." As you can see from the paintings below, O'Conor was able to be
veratile in his work.
Portraits by Roderic O'Conor below, from left to right: Vue de Pont-Aven (1899), Reclining Nude Before a Mirror (1909), Girl Reading (1910), and Le Barrage a Montigny (1902).
Aloysius
O'Kelly
(1851-1929)
He was an artist
for the Illustrated London News in the 1880s. His outstanding depictions
of riots and evictions in Ireland during the Land League gave him a quick reputation.
After studying in Paris, he emigrated from Ireland to the United States in 1895
and and settled in New York to become a naturalized citizen of the United States
(1901). He created portraits of prominent politicians for the New York Herald.
Some of his works include a portrait of Fenian rebel John Mitchel and a painted
portrait of John Mitchel's grandson, Mayor John Purroy Mitchel and his wife.
Walter
Osborne (1859-1903)
This impressionist artist moved to England in 1884, but it was not until the
1890s that impressionism started to show in his works. Looking at his last works,
it is said that "Osborne may be the only Irish artist who could justifiably
be called 'an Irish Impressionist'."
Left: Walter Osborne, View of Antwerp. Right: Osborne, Young Girl With Sunhat (1890). Both pictures taken from Irish Impressionists.
Frank
O'Meara (1835-1888)
Born in Carlow, O'Meara left Ireland to move to Paris c. 1872-73. As a teacher,
he gained a certain status among young artists. O'Meara was one of the forerunners
of the 'Glasgow School' style.
Louis
H. Sullivan (1856-1924)
This modernist architect and father of the skyscraper was born in Boston and
schooled at the Massachusettes Institue of Technology. He travelled to Europe
in 1874 to study in the Vaudremer studio at the Ecole des Beaux Arts in Paris.
Sullivan became partners with Dankmar Adler in 1883 until 1895 when Adler retired.
He became one of the most influential forces in the Chicago School with his
philosophy that "form should always follow function."
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