Mainie Jellett

Mary Harriet "Mainie" Jellett (29 April 1897, Dublin – 16 February 1944, Dublin) was an Irish painter whose Decoration (1923) was among the first abstract paintings shown in Ireland when it was exhibited at the Society of Dublin Painters Group Show in 1923. She was strong promoter and defender of modern art in her country, her artworks are present in museums in Ireland. Her work was also part of the painting event in the art competition at the 1928 Summer Olympics.[1]

Mainie Jellett
Born
Mary Harriet Jellett

(1897-04-29)29 April 1897
Dublin, Ireland
Died16 February 1944(1944-02-16) (aged 46)
Dublin, Ireland
NationalityIrish
Alma materMetropolitan School of Art
OccupationArtist, painter
Achill Horses by Mainie Jellett, 1938

Life

Jellett was born on 29 April 1897 at 36 Fitzwilliam Square, Dublin, the daughter of William Morgan Jellett, a barrister and later MP, and Janet McKenzie Stokes.[2][3] Her aunt was a pioneering woman doctor working in India, Eva Jellett.[4]

Jellett's art education began at a young age of 11, when she received painting lessons from Elizabeth Yeats, Sarah Celia Harrison and from Miss Manning who had a studio on Merrion Row, and whose influence on Irish Artists of the time was considerable.[5]

She later studied at the Metropolitan School of Art in Dublin (her teachers included William Orpen, and his influence is apparent in her work from this period[5]).[6] Despite her artistic talent, she was still undecided about her future, and at this time was taking regular piano lessons with a view to becoming a concert Pianist.

Her decision to become a painter was made after working under Walter Sickert at the Westminster Technical Institute in London, where she enrolled in 1917 and remained until 1919.[5] She showed precocious talent as an artist in the impressionist style. In 1920, she won the Taylor Art Scholarship worth £50. The same year she submitted work to the annual exhibition of the Royal Hibernian Academy.[5]

Mainie Jellett, Abstract Composition, 1935, oil on canvas, 119.5 x 96.9 cm

In 1921, along with her companion Evie Hone moved to Paris, where, working under André Lhote and Albert Gleizes she encountered cubism and began an exploration of non-representational art. Her new style, including colour and rhythm was greatly inspired by her stay in France. After 1921 she and Evie Hone returned to Dublin but for the next decade they continued to spend part of each year in Paris.

In a 1943 essay entitled 'Definition of my Art' Jellett describes her art as having three revolutions inspired by her teachers; the first credited to Walter Sickert, the second to André Lhote and the third to Albert Gleizes.[7]

In 1923, she exhibited two cubist paintings at the Dublin Painters' Exhibition. The response was hostile, with the Irish Times publishing a photograph of one of the paintings and quoting their art critic as saying of them 'to me they presented an insoluble puzzle'.[8] The following year, she and Evie Hone had their first joint exhibition.

A deeply committed Christian, her paintings, though strictly non-representational, often have religious titles and often resemble icons in tone and palate. In Irish Art, a Concise History Bruce Arnold writes that

"Many of her abstracts are built up from a central 'eye' or 'heart' in arcs of colour, help up and together by the rhythm of line and shape, and given depth and intensity - a sense of abstract perspective - by the basic understanding of light and colour"[9]

Jellett was an important figure in Irish art history, both as an early proponent of abstract art and as a champion of the modern movement. Her painting was often attacked critically but she proved eloquent in defense of her ideas. Along with Evie Hone, Louis le Brocquy, Jack Hanlon and Norah McGuinness, Jellett co-founded the Irish Exhibition of Living Art in 1944.[10]

Achill Horses, oil on canvas, 61 x 92 cm, 1939, National Galley of Ireland

In her published work "An Approach To Painting" (1942)[11] - Jellett stated why she feels artists are necessary in society:

"The idea of an artist being a special person, an exotic flower set apart from other people is one of the errors resulting from the industrial revolution, and the fact of artists being pushed out of their lawful position in the life and society of the present day. … Their present enforced isolation from the majority is a very serious situation and I believe it is one of the many causes which has resulted in the present chaos we live in. The art of a nation is one of the ultimate facts by which its spiritual health is judged and appraised by posterity."[11]

She was an important participant of the Active Age project in the IMMA, which was produced to rewrite the narrative of art change the canon. Jellett whose work was not very well known outside of Ireland but a pioneer when it comes to the idea of avant-garde and being an activist for the encouragement of young Irish artists. The IMMA decides to evaluate and reexamine the European canon and bringing artists like Maine Jellett to the front line. In 1991 Bruce Arnold published a comprehensive biography of Jellett together with an analysis of the modern movement in Ireland.[12] [13]

Death

Jellett died on 16 February 1944, aged 46, of pancreatic cancer.[14] Elizabeth Bowen wrote a heartfelt obituary which was publish in the periodical The Bell in 1944. She mentions one of their last talks and Jellett mentions the work of a genius Dorothy Richardson, who has yet to receive the recognition she deserves. Till the end showing solidarity to women and standing strong with the feminist movement. [15]

Work in collections

Analysis of Artworks

Allegorical Scene (no date) Ulster Museum

Jellett represents a religious scene through the use of geometric elements, typical of post-impressionism. Unfortunately, this work does not have a date to determine when its artistic career was created, whether at the beginning or at the end of it. The focal point of the painting is Christ, placed in the center of the painting where the light is concentrated. The use of colors consistent with reality and perspective is appreciated. Likewise, Jellett's analysis of the image of the human body to find its geometric elements is observed.

Four Element Composition 1925, IMMA

This work was created by Jellett four years after her stay in Paris and her foray into non-figurative art. The title of this painting works as a kind of anchor, since it helps to understand what Jellett wanted to represent, such as the crossing of cold colors, points, lines and forms where each one has its own expression. It is a work that exists independently of reality, loaded with significance of the abstract.

Composition 1932-1935, Ulster Museum

This work was created by Jellett in her maturity, the idea of pure abstraction is appreciated. It does not represent a figurative theme or subject, it has an autonomous visual language, with its own meaning. It exists regardless of reality and of any historical, cultural or geographical burden. The painting is composed by the preponderant combination of curved lines that generates spatial shapes. Likewise, chromatic freedom is appreciated using terracotta, red, gray, blue, yellow, white and black colors.

References
  1. "Mainie Jellett". Olympedia. Retrieved 27 July 2020.
  2. "General Registrar's Office". IrishGenealogy.ie. Retrieved 20 April 2017.
  3. "Church records". IrishGenealogy.ie. Retrieved 20 April 2017.
  4. "Tercentenary Alumni Gala Celebration - Provost & President : Trinity College Dublin". www.tcd.ie. Retrieved 2019-03-07.
  5. Arnold, Bruce. Mainie Jellet 1897-1944. National Gallery of Ireland: The Neptune Gallery. pp. Biographical Information.
  6. Ferriter, Diarmaid (2009). "Jellett, Mainie". In McGuire, James; Quinn, James (eds.). Dictionary of Irish Biography. Cambridge: Cambridge University Press.
  7. Fintan., Cullen (2000). Sources in Irish art : a reader. Sterling, Va.: Cork University Press. pp. 86–87. ISBN 1859181546. OCLC 43631547.
  8. "Art Critic". The Irish Times. 23 October 1923.
  9. Arnold, Bruce (1968). Irish Art, a Concise History. Praeger. p. 174.
  10. 1922-, Snoddy, Theo (2002). Dictionary of Irish artists : 20th century (2nd ed.). Dublin: Merlin. p. 288. ISBN 1903582172. OCLC 50624017.CS1 maint: numeric names: authors list (link)
  11. The Field Day anthology of Irish writing, Vol. V,Irish Women's Writing and Traditions. Angela Bourke, Siobhán Kilfeather, Maria Luddy, Margaret Mac Curtain, Gerardine Meaney, Mairín Ní Dhonnchadha, Mary O’Dowd and Clair Wills (eds). Lawrence Hill, Derry, Northern Ireland: Field Day Publications. 1991–2002. pp. 1085–1086. ISBN 0946755205. OCLC 24789891.CS1 maint: others (link)
  12. McGonagle, Declan (2017). "For Them, Not Us: " Turning" the Museum un an Anxious World". Éire-Ireland. 52 (3&4): 87, 88. doi:10.1353/eir.2017.0023. S2CID 201723359.
  13. Arnold, Bruce. Mainie Jellett and the Modern Movement in Ireland. Yale University Press, 1991. ISBN 0-300-05463-7.
  14. "General Registrar's Office". IrishGenealogy.ie. Retrieved 20 April 2017.
  15. Bowen, Elizabeth (1944). "Obituary of Mainie Jellett". The Bell. 9 (3): 257.

Sources
  • Claire Dalton (2014) "Irish Women Artists 1870 - 1970" Adams Summer Loan Exhibition 2014
  • Daire O'Connell (2002), Jellet, Mary Harriet (Mainie) in Brian Lalor (Ed.), The Encyclopedia of Ireland. Dublin: Gill & Macmillan. ISBN 0-7171-3000-2
  • Bruce Arnold (1977), Irish Art, a Concise History (2nd Ed.), London: Thames and Hudson, ISBN 0-500-20148-X
  • Crookshank, Anne; White, James; Brooke, Peter. Mainie Jellett 1897-1944. Irish Museum of Modern Art. ISBN 1-873654-01-4.
  • Barrett, Cyril (1993). "Mainie Jellett and Irish Modernism". Irish Arts Review Yearbook. 9: 167–173. JSTOR 20492730.
  • Bhreathnach-Lynch, Sighle (2002). "Twelve Irish Artists: A School of Irish Painting?". New Hibernia Review. 6 (2): 130–134. doi:10.1353/nhr.2002.0025. S2CID 145361759.
  • Carson, Niall. Rebel by vocation: Seán O’Faoláin and the generation of The Bell. Manchester University Press, 2016. muse.jhu.edu/book/51370.
  • Cullinan, Monica (1995). "Irish Women". Journal of Women's History. 7: 250–277. doi:10.1353/jowh.2010.0368. S2CID 201764631.
  • "Color Insert". Éire-Ireland. 40 (3): 2005. 2005. doi:10.1353/eir.2005.0014.
  • Dalton, Claire. Irish Women Artists 1870-1970: Summer Loan Exhibition. Dublin: Adams Auctioneers, 2014.
  • Dublin (Ireland). Municipal Gallery of Modern Art. Mainie Jellett, 1897-1944 : a retrospective exhibition of paintings and drawings. 1962-01-01T00:00:00Z. Retrieved from the Digital Public Library of America. Accessed April 21, 2020. http://www.archive.org/details/mainiejellett18900dubl.
  • Frost, Stella. A Tribute to Evie Hone and Mainie Jellett. Dublin: Browne and Nolan, 1957.
  • Hartigan, Marianne (1987). "The Irish Exhibition of Living Art". Irish Arts Review (1984-1987). 4 (4): 58–59. JSTOR 20492035.
  • IMMA. Department of Culture, Heritage and the Gaeltacht. Accessed April 22, 2020. https://imma.ie/collection/?_sft_artwork_artist=mainie-jellett&sf_paged=1&obj=obj_24565.
  • Kennedy , S.B. A CelebrAtion of Irish Art And Modernism. Clandeboye: Adams, 2011. https://www.adams.ie/media/exhibition_pdfs/1456762848Modernscataloguesmall.pdf.
  • MacCarvill, Eileen, and Albert Gleizes. 1958. The artist's vision, Mainie Jellett: lectures and essays on art. Dundalk: Dundalgan Press.
  • “Mainie Jellett.” Art UK. Arts Council England. Accessed April 22, 2020. https://www.artuk.org/discover/artists/jellett-mainie-18971944.
  • McGonagle, Declan (2017). "For Them, Not Us: "Turning" the Museum in an Anxious World". Éire-Ireland. 52 (3–4): 75–103. doi:10.1353/eir.2017.0023. S2CID 201723359.
  • Meaney, Gerardine; O'dowd, Mary; Whelan, Bernadette (2013). "Producers and Consumers of Popular Culture, 1900–60". Reading the Irish Woman. pp. 179–195. doi:10.2307/j.ctt5vjjn3.10. ISBN 9781781388198.
  • Pyle, Hilary (2003). "Jellett, Mainie [Mary Harriet]". Grove Art Online. doi:10.1093/gao/9781884446054.article.T044570.
  • Shields, Daniel (1957). "Reviewed work: A Tribute to Evie Hone and Mainie Jellett". Studies: An Irish Quarterly Review. 46 (183): 377–378. JSTOR 30098922.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.