Life
1894-1955; painter, stained-glass designer; b. Dublin, ed. Byam Shar School
of Art, and under Walter Sickert briefly in 1918, also under Meninsky
and Byam Shaw before travelling to Paris where she worked with André
Lhote, 1920; joined by Mainie Jellet; they persuaded Albert Gleizes to
take them as pupils and worked part of the year with him, 1921-31; moved
away from painting to glass; involvement with work of Georges Rouault
and conversion to Catholicism; she and Jellet joined Sarah Purser’s
studio in 1932; designed her first window, The Annunciation, for
St. Naithi’s, Dundrum, with assistance of Wilhelmina Geddes, 1933;
worked at An Túr Gloine, 1935-44; studio at Marlay Grange, Rathfarnham;
stained-glass commissions include Crucifixion and Last Supper
windows at Eton Chapel, 1942-52, designs for which are in NGI; founder
member of IELA; memorial exhibition, UCD, 1958. See C[onstantine] P. Curran,
‘Evie Hone, Stained Glass Worker 1894-1955’, Studies
vol. 44 (Summer 1955); Stella Frost, ed., Evie Hone (1958). BREF
DIB DIH
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Commentary
Hilary Pyle, ‘Modern Art in Ireland: An Introduction’,in Éire-Ireland, 4, 4 (Winter 1969), pp.35-41, notes that Hone travelled to London to take lessons from Walter Sickert and Byam Shaw, and was encouraged by Meninsky to go to Paris where she met Mainie Jellett [also from Ireland], the two of them subsequently studying under Lhote and then Albert Gleizes with whom they explored Cubism (p.37).
See also Sighle Breathnach-Lynch, Evie Hone: A Pioneering Artist, (Dublin: NGI 2005), 1 folded sh. [6]pp., ill. [col.], 30 cm.
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References
Henry Boylan, Dictionary of Irish Biography (Dublin: Gill & Macmillan 1988): b. 22 Apr. Roebuck Grove, Co. Dublin, poliomyelitis,
semi-invalid; began to exhibit abstract paintings in Dublin, 1924; deeply
religious nature and interest in Rouault; three small panels in Protestant
church, Dundrum, her first stained glass commission; best-known works, My Four Green Fields (CIE office, Dublin), five windows for Jesuit
college at Tullabeg, and the Eton College windows; produced 150 small
stained glass panels and a number of oils and water-colours; d. Rathfarnham,
13 Mar. NOTE that DIH (ed. Hickey and Doherty, 1979) attributes ‘Deposition’
to both Jellett and Hone.
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Notes
Portrait of Evie Hone by Oisin Kelly, bronze bust; see Anne Crookshank,
Ulster Mus. 1965; also ‘Evie Hone at Work in her Studio’ by
Hilda van Stockum (Nat. Gallery of Ireland), printed as b/w in History
Ireland (Summer 1994), p.36.
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