Life
[ top ] Illustrated Irish works incl. John Montague, A Chosen Light (1967), the first drawing in this being carried forward to the Selected Poems (1982); also Thomas Kinsella, trans., The Táin (Dublin: Dolmen 1969); drawings in Desmond OGrady, The Gododdin, A Version from the Welsh (Dolmen 1977) [ltd. edn. 650]; Seamus Heaney, Ugolino (Cadenus Press 1979), 2 liths.; book design by Liam Miller; also James Joyce, Dubliners, with lithographs by Louis le Brocquy ([Mountrath, Laois]: Dolmen Press 1986), and Do. [rep. edn.] (Dublin: Lilliput Press 2008), 240pp. [pb.] p align="justify">Tapestries: Travellers (1948), Garlanded Goat (1949-50), Allegory (1950), Eden series (1951-52), Inverted series (1948-99) [i.e., inverted colours], Tain series (1969-00), Cúchulainn series (1973-1999), Garden series (2000). His large-scale tapestry commissions include Brendan the Navigator (1963-64, UCD, Michael Smurfit School of Business, Dublin), The Hosting of the Táin (1969; Irish Museum of Modern Art), the Massing of the Armies (RTÉ, Dublin) and the monumental Triumph of Cúchulainn (National Gallery of Ireland, Millennium Wing) [See Anne Maddens Louis le Brocquy pages at Anne Madden online]. Commentary, journal contributions incl. A Painters Notes on Ambivalence, in Crane Bag, 1.2 (1977), rep. in The Crane Bag Book (1982), pp.151-153; le Brocquy, Study Towards an Image of James Joyce [Crane Bag Irish Studies, pp.154-58]. p align="justify">See also The mystery of fact, contrib. to Francis Bacon in Dublin, introd. by Barbara Dawson [Bacon Exhibition 2000] (London: Thames & Hudson 2000), 128pp. [4 folded]; incl. 66 col. ill., ports.; 22 cm. [Catalogue of an exhibition at Hugh Lane Municipal Gallery, Dublin, 1 June-31 Aug. 2000, with contribs. by Grey Gowrie, Louis le Brocquy, Cronin, Paul Durcan, and David Sylvester.) Miscellaneous, Irish Landscape (Dublin: Gandon Eds. 1992; reiss. 1995), 99pp. 35 watercolours; incl. interviews with Michael Peppiatt and George Morgan [coloured water on white paper - mostly of Liffey and Beare Peninsula]. Also Jeremy Madden-Simpson, The No Word Image (Dublin: Eason & Son [1987]), 79, [1]p: ill., with original signed lithograph by Louis le Brocquy [ltd. edn. of 500].
[ top ] Criticism
Birthday tribute from President Mary McAleese, 27 Oct. 2006 See Tribute to Louis le Brocquy from Travellerss Association (Pavee Point) Michael Dibb, Art: Six of One (The Dubliner, July-August 1962), pp.60-62: reviewing the RHA Exhibition, he begins with asservations: […] This lack of rigour and uncritical acceptance of everything is, unfortunately, widespread […] the cumulative impression here is not of artists using the discoveries of the Twentieth Century intelligently or inventively, but of the discovevries too often being abused by unimaginative minds. Artists discussed are Louis Le Brocquy [sic particle], Brrie Cooke, Patrick Scott, Camille Souter, Patrick Collins, Gerard Dillon, chosen for their diversity and vitality and the fact that they are not marking time, rephrasing superficial idiosyncracies [sic], but are all developing and inventing within a personal set of references. (p.63). Of le Brocquy: Louis Le Brocquys associations with Ireland have been greatly refined by his sojourn in France. The initial effect of his recent exhibition is dazzling. One is caught up in the immaculate surfaces, the brilliance of the colours, dazzling whiteness, heavenly blue, even the temperature of red heat is lowered by the cool technique. The appeal is sophisticated and romantic but at the centre of the sheerness is a hint of viscera and bones, rather macabre, like bloodstains on a wedding dress. He calls some of his paintings being, being merging, emergent being; he is concerned with existence both as a painter and as a human entity, and from this conflict between his obvious joy in the handling of paint and sensual awareness of the human form his paintings gain their disturbing yet alluring presence. At his worst, at his least oblique, for instance in his paintings of shadowed heads with mangled brains, he degenerates to a rather facile sickness. (p.61.) John Montague, Yeats, the most varied mind of the Irish race, the last - and perhaps the only - Romantic poet in English to manage a full career. Le Brocquy, the most dedicated Irish paitner since Yeatss brother died, with an intuitive sympathy for literature and mythology, an increasingly rare reverence before the human./Their meeting has an aspect of inevitability. [ ] (Faces of Yeats, pref. to exhibition catalogue, Musée dArt Moderne de la Ville de Paris, 1976; rep. in Etudes Irlandaises, 1977; see also Montagues preface to Images of Joyce [Gimpel, touring, 1977-78], rep. in The Crane Bag, 1& 2, 1978). See also Montagues remarks at the time of Le Brocquys death in 2012, infra.
Thomas Kinsella (Rosc Exhib. Cat., p.78), identifies the gift of concentration and steady energy as well as an individual force[,] stemming from tireless curiosity as le Brocquys central qualities, and mentions [b]lank stares and tenuous beings and presences. He comments of the Táin: when le Brocquys technical means are restricted, as with the black brush drawings commissioned for a translation of the early Irish epic The Tain (1969) - with the subjects prescribed and the tone preset- it is characteristic that his art should burst into sensual excess, copious revitalising of primal images - of bull, hound and carrion-crow, of warrior, queen and horde. And, again, coherence is a heature of the performance. The apparently random commission found a prepared response - even a prepared style, as a cover design for a book of Irish tales drawn by le Brocquy many years earlier, attests. The effect is to throw a stronger emphasis on the Celtic (not necessarily Irish) elemnt that has formed his work since the early 1960s. (See Brian ODoherty, The Irish Imagination 1959-1971, 1971.)
Aiden Mathews, Modern Irish Poetry, A Question of Covenants: A notable contribution to the canon of this myth [i.e., the canonisation of poets] may be distinguished in Le [sic] Brocquys portfolio studies of the three men [..] cited. His exagminations of Beckett, Joyce and Yeats inhabit the idiom of the remote, the inaccessible, his figures are spectral, fugitive, their approachable humanity eroded by creative travail since, in the Roman cadences of the master, they who half live in eternity must endure a rending of the structure of the mind, a crucifixion of the intellectual body le Brocquy has not striven to impart the angular and the whimsical Beckett; nor chosen to express the avuncular bourgeois Yeats; nor sought to bring to birth the burly, hilarity of Joyce. The faces he conjures reside in a cold and opaque zone, their eyes recall the death masks of Egyptian pharoahs. Tacit concelebrants of anguished mysteries, tight-lipped, locked in a motionless trauma, such images will not stand sponsor to any aesthetic that endeavours to constitute a new human comedy, a credo of plenitude, promiscuous and abundant life. /…/ This myth is, this highly improbable pose, issues for a confusion in our minds between the singular man and the isolate man […] (The Crane Bag, [3.1], 1979; 1982, p.381.) [ top ] Richard Demarco, Celtic Vision in Contemporary Thought, in Robert ODriscoll, ed., The Celtic Consciousness (Dolmen/Canongate 1981), pp.519-50: Louis le Brocquy has long been regarded as an outstanding Irish artist.; cites the painters remarks at lecture of 1978 in Toronto; Le Brocquy likens the process of painting over 200 heads of Yeats, Joyce, and Lorca to a type of archaeology, an archaeology of the spirit. [543] / Further, In Louis le Brocquys work, then, we have a contemporary artist using an innate Celtic sensibility to illuminate the artistic consciousness of our time. When I exhibited his heads of Yeats in the 1977 Edinburgh Festival I did so alongside a series of heads carved in Northern Ireland between the third century B.C. and our own time, demonstrating the truth of Henry moores statement that art is a universal continuous activity with no separation between past and present. (p.545.) Further [on the artists wife:] Anne Madden finds her inspiration in the megaliths of Ireland and in the landscape of her native land, Connemara stone, and the great storm-tossed Atlantic cloud formations. Yet her paintings are not developments of an abstract concept, but the paints she uses dictate what emerges on the canvas: what breaks through, emerging from behind the surface of her canvas, is neither dolmen nor menhir, but paint - paint which asks to be recognised as such. (Dominique Fourcade, Anne Madden, Paris 1979, p.5), She infuses the ancient megalithic forms with a modern consciousness and explosive sensuality, painting as much out of th edepths of her own being as out of the depth of the mythological past, creating a heart of reality that craves for light, with the light in turn carcing for further light, light which isolates every sold mass simply by virtue of its inner living growth […] Light which is the very limit of our [545] being, this limit - whether delible or not - lying within us. I am reminded of André Bretons statement: deeper than the deepest ocean is the heart of a woman. (pp.545-46.]
Anne Madden [le Brocquy], Louis le Brocquy, A Painter Seeing His Way (Gill & Macmillan 1994): Louis read Rimingtons Colour Chords (1912), although he never witnessed his colour organ, constructed to cause a flush of successive hues onto a screen [sic]. Louis also studies Newtons colour scale, which was closely allied with the musical octave, and []was surprised to hear that in the fourth century b.c. Aristotle already held that Colours may mutually relate, like musical chords, for their pleasantest arrangements, as those concords mutually proportionate. Rimington arbitrarily presumed that the note C corresponded to pure red … (p.63.)
Martin MacCabe & Michael Wilson [art, contemporary], in Modern Irish Culture, ed. W. J. McCormack (Oxford: Blackwell 1999), discern a pattern of criticism [...] whereby a handful of practitioners in the late 1960s and 1970s championed the cause of certain individual artists in relation to one or more of the valorized terms Irishness, Modernity, individuality, expressivity, sensitivity and landscape. Dorothy Walkers, writings on the work of Louis le Brocquy are an appropriate example of this tendency. (p.35.) Further: speaking of work produced in a High Romantic mode which treats the landscape as an enduring repository of native value and identity, MacCabe and Wilson write: Landscape was promoted as the quintessential subject matter in Irish art, where artists articulate their Irishness and express their Celtic imagination. Beyond landscape as the privileged signifier for this Celtic sensibility, the portraiture of Louis le Brocquy has also been presented by this discourse as essentializing and reifying this Celtic imagination. (Ibid., p.36.) Note: there is no separate entry on le Brocquy in this reference work. Ailbhe Ní Bhriain, Le Livre dArtiste: Louis le Brocquy and The Tain (1969), in New Hibernia Review/Irish Éireannach Nua, 5, 1 (Spring 2001), pp.68-82: Le Brocquys art [in the Tain] cannot accurately be described as brutal, yet le Brocquy does echo these ideals in using mythology to escape what he had described as the picturesque images and social irreality of Irish Irish art. (Quoted in Dorothy Walker, Le Brocquy, p.91.) Le Brocquys early paintings of Irelands itinerant travellers, like Travellers Making a Twig Sign, are partly influenced by Synges descriptions in his prose of the wildness and vitality of the travelling and island communities, and resemble studies of a primitive ancestral culture. In his early paintings, this ancestral search can be related to landscapes in Famine Cottages (1944). By the early 1960s, the ancestral search had taken the form of depicting the human head in paintings reconstructing and evoking images of such Irish rebels as Wolfe Tone in Evoked Head of an Irish Martyr (1964). [… l]e Brocquy spent extended periods in France and, indeed, he resided there from the 1950s onwards. There, in close [71] contact with Henri Matisse and Alberto Giacometti, he absorbed the tradition of the livre dartiste and the painter illustrator. / By 1967, the year in which Lima Miller commissioned drawing for The Tain, le Brocquy had already illustrated two books: Austin Clarkes Poetry in Modern Ireland (1961) and J. J. Campbells legends of Ireland (1955). He had also worked once with the Dolmen Press: he designed the head and tail piece for Donagh MacDonaghs broadside Love Duet (1954). The project of The Tain was, then, one personal to both artist and translator, and should be seen as a collaborative effort fostered by Liam Miller, the maître doeuvre. (pp.71-22.) [Cont.] p align="justify">Ailbhe Ní Bhriain (Le Livre dArtiste: Louis le Brocquy [...], in New Hibernia Review, Spring 2001) - cont. : In his Tain illustrations, the ability of le Brocquys drawings to emerge and dissolve gives fittting expression to the peculiar marriage of mysticism and raw physicality contained in Kinsellas text. Like gestures of primeval fear, strnght, or passion, the explosive energy of the brushwork captures the phsyical exuberance [77] of the texst, as can be seen in the images of bodily matters and of violence, as in th eseveral drawings of Cúchulainns warp spasms. […] In retaining a certain abstraction, le Brocquys drawings suggest the magical, the fantastical character of the Ulster saga. in Liam Millers setting, Kinsellas text and le Brocquys images function together as a whole, the illustrations forming in le Brocquys words, an extension of the text, thus qualifying The Tain as a livre dartiste. (p.78.) Robert OByrne, The travelling life that created Irelands greatest living artist (Irish Times, 20 May 2000): While appreciating abstraction, he has always been a figurative artist and is best known today for his portaits celebrating major creative figures onf the twentieth century such as Beckett, Yeats and Joyce. These are cultural icons, and therefore Le Brocquys interpretation of their heards possesses an unquestionable iconic authority. / So, too, does he, as is proved by the price achieved this week for his Travelling Woman.
Aidan Dunne, Archaeologist of the spirit, in The Irish Times (9 Sept. 2006) [Weekend]: […] Le Brocquy is best known for his paintings of heads, usually famous heads, including those of a triumvirate of literary heavyweights: W. B. Yeats, James Joyce and Samuel Beckett. In a way these portraits are a high-cultural equivalent of Andy Warhols silkscreen paintings of celebrity icons like Elvis Presley, Marilyn Monroe and Elizabeth Taylor. / Both bodies of work emerged initially in the same decade, the 1960s, and they might be seen to converge in one of the most recent of le Brocquys subjects, Bono. […] His evocations of individual heads, living or dead, come with a rider. They are Studies towards an image of …, and they occur in sequential multiples rather than single, definitive versions. […] The subjects of his heads veer between virtual anonymity and iconic status. Ancestral Head, for example, is effectively anonymous but marks out the territory: not so much making a portrait per se as engaging in an archaeology of the spirit, reconstructing not likeness but imaginative life. […] Throughout his long bouts of wrestling with his named subjects - a list that also includes Federico García Lorca, Seamus Heaney, Francis Bacon and Pablo Picasso - likeness is both a boon and an encumbrance. It grounds the image, but can also tie it to a formulaic restatement of familiar features. / When the balance is right, le Brocquy manages to engender a feeling of tenuous, fugitive presence, providing a glimpse into the mysterious complexity of mental life and spirit. There is also a sense of cultural placement, not in the sense of merely iterating an Irish literary canon - though that is an obvious danger - but in terms of locating particular sensibilities and imaginations in terms of historically derived identity, a view of individual consciousness as extending forwards and backwards in time, in terms of genetic and other, more conscious influences. (For full text, see infra.)
[ top ] Tom Rosenthal, ‘Playing with the Past, review of Louis le Brocquy: Homage to His Masters [exhibition] (Gimpel Fils, Davies St., London W1 – 22 Dec. – 7th Jan.), in The Spectator (2 Dec. 2006), pp64-65: […] Le Brocquy is, in the very best, purest, and even literal sense, a literary artist. While he has an an obsession with heads, worked out over decades and in literally hundreds of paintings, drawings, and graphic works, this is neither physiological nor anthropological. The heads which obsess him are not the conventional portrait studies done by virtually every artist who tackles mankind, but, because of his choice of subject, studies in literary analysis. Nearly all the best pictures are the heads of writers he loves, mostly are his fellow Irishmen: W. B. Yeats, Joyce, Beckett, Heaney plus one or two painters including Picasso and and, inevitably perhaps, Bacon. One of the few non-Irish writers is Lorca and, because we are so familiar with the features of, say, Yeats or Beckett, the Lorcas are the most surprising and, doubtless, because of his appalling death, the most haunted and haunting. / Le Brocquy is also a dazzlingly inventive book illustrator. Of the many illustrated editions of Joyves The Dubliners [sic] his is, by a long way, the best; the most faithful to the stories and because of this the most evocative of Joyces prose and, particularly, of the city that gave the collection its title. His brush drawings for Synges Playboy of the Western World are, as befits the play, much wilder than his other. more controlled illustrations, yet equally, convincing. But his undoubted masterpiece is the 1969 Dolmen Press edition of Thomas Kinsellas superb translation of that great Ulster epic tale The Táin. This inspired Seamus Heaney to write the poem entitled “Le Brocquys Táin”, which encapsulates le Brocquys genius as illustrator just as the painter has caught the essence of the poets striking head: And “Horseman” A horse / beneath him as dangerous / As the one that broke / Out of its scroll one midnight / And trarnpled the paddy fields. / Add to these his superb Aubusson tapestries as seen at Agnews in 2001 and you have an artist of extraordinary versatility. […] (For full text, see Ricorso Library, Criticism/Reviews, infra.) Ciaran Bennett, note to Louis le Brocquy, Reconstructed Head of a Young Man, 1968, in Whyte’s Important Irish Art [Catalogue] (26 Nov. 2007). The article commences by suggesting a link between the emotive texture and brushstrokes of the head in Francis Bacon’s Painting, 1946, and the versions of Woman by Willem de Kooning, which were painted nearly ten years later. The umbrella man of Bacon’s great painting, with its sides of pork - an assemblage o~ cannibalistic and quixotic iconography of the urban man - seemed to have a direct parallel to de Keening’s Woman. Further With Louis le Brocquy, and particularly the head series, the iconography of the Neolithic temple of Entremont in France aand the cult of the severed head, is equally pertinent to de Kooning’s interest in ancient fetishes of the female deity. Le Brocquy’s body of work with the head, which has been a source of exploration and engagement for him, has direct parallels to the head of de Kooning’s painting in Woman. The discovery in Paris of the decorated craniums from ancient cultures le Brocquy in 1964 was a seminal moment in his practice as an artist. This paralleled the momentous epoch in New York. where the European avant-garde had been in exile through the Second World War, and out of which had developed Abstract Expressionism or the New York School. / Like Bacon, de Kooning decided to continue this exploration of the body in space and the iconographic aspects of its physical presence as a motif, and integrated the apparent extremes of paint and application into a more formally constructed but deliberately eviscerated surface quality. The paint has its own internal dynamic, as in abstraction, but the consideration of the motif has a challenging identity which responds to our historical relationship with classical western art and ancient symbolism. / It is this parallel tradition to late modernist abstraction that places Louis le Brocquy’s work of this period succinctly within the tradition of Bacon and de Kooning. The brushstrokes emote a sense of deconstructed internal dialogue, yet succinctly articulate an image: the human head. [Bennet is Pollock Krasner Research Fellow, NY 2007.)
John Montague (Irish Times, 26 April 2012): [...] know Louis best during the 1960s, when I was Paris Correspondent of The Irish Times. Louis and Anne would come up from their home in the south of France, and plunge into whatever was happening in Paris, which could include a new exhibition of Louis at the Galerie Jeanne Bucher in the rue de Seine, or indeed Le Musée dArt Moderne de la Villes display of his Yeats portraits. And in the evening we would gather with much hilarity at some watering hole, along with sundry fellow artists, writers and the like. With his fair, delicate looks, Louis could seem vague (Anne and I used to teasingly call him Your Royal Vagueness), yet he was anything but, being in his own way immensely practical. To go to the Jeu de Paume museum with him, for example, was quite an experience, with his intimate sense of how a painting should be presented. He was great on the dialogue between wall and frame, and frame and canvas. While other visitors gazed appreciatively at each picture in turn, Louis filled me with a sense of wonder at the harmony of a room, and the importance of things like the hue of wooden frames, or how to avoid hanging a painting too high or too low (most are mounted too high, he said). He was working on the drawings for Thomas Kinsellas Táin, and while every little detail seemed to matter, they could also look as nearly mystical as the drug-induced visions of Henri Michaux. There was also something uncanny about his portrait gallery of Irish writers. It was as if the painting was a Veil of Veronica, on which he summoned a ghostly head. His portraits of the later Joyce are heartbreaking, while his Yeats are challenging, with that now-legendary face sometimes stern, other times passionate or full of wild imaginings – or, like the face of an Irish Prospero, conjuring spirits. Louis used white as other painters do shadow, and as he grew older and more frail, he began to look like a Louis le Brocquy, all fine blanched lines, with a light seeming to shine from within. His career as a painter has been exemplary, and we are all grateful. (Available online; accessed 05.06.2012.) p align="justify">Tribute to Louis le Brocquy from Travellerss Association (Pavee Point): Sir, – Pavee Point wish to express our sadness at the passing of the artist Louis le Brocquy. His celebrated Tinker Series documented the life of Travellers in the 1940s and illustrated his insight into the position of Travellers as marginalised in society – a position he also found himself in from time to time. / His support for Travellers went beyond painting and Louis kindly gave us permission to publish his Tinker Series in calendar format in 2006. He went even further in showing his support and solidarity by agreeing to speak at the launch held in the National Gallery to celebrate Traveller Focus Week that year. He was an unassuming man and at the launch was particularly interested in the work of a Traveller tinsmith present, acknowledging his talents as an artist too. He also personally wrote after the event to thank a Traveller woman who presented him with a bunch of paper flowers. / In the calendar, Molly and Missy Collins were quoted as saying: Therell be loads of Travellers out there that wont recognise what they see in the pictures until they look at them right and see whats in them and be proud of our past and recognise what Travellers went through to survive as part of Ireland ... May the light of heaven be on the ones (Travellers) who are dead and gone. / As the Travellers say: May the light of heaven be on Louis le Brocquy. – Yours, &c, Ronnie Fay, Dir., Pavee Point Travellers’ Centre, N. Gt. Charles Street, Dublin 1. [Charles Lysaght,] obit. in Irish Times (228 April 2013): apparently from an early age le Brocquy exhibited the misture of dreamy abstarction and canny practicality that will be familliar to those who knew him in later years. [...] While he was not overtly political, le Brocquys instinctive liberalism, his sceptical attitude towards institutional religion and his aesthetic views served to situate him politically in a conservative society. Having mae accomplisehd representational lpaintings, he quickly moved beyond traditional naturalism, stylising and fragmenting his imagery in ways that displayed a good grasp of Cubism and other modernist innovations, then still haltingly and cautiously embraced in Ireland. [...] During le Brocquy and Maddens stays ion Dublin, and after they settled back in Ireland, their home was the scene of lively social gatherings where more or less anyone involved in cultural pursuits, Irish-based on visiting, was likely to turn up. A charming and thoughtful man of modest demanour, le Brocquy was a fine converstaionalist with a wry, mischievous sense of humour.
[ top ] Quotations
Artists Note to The Táin (1969; OUP Edn. 1970): Any graphic accompaniment to a story which owes its existence to the memory and concern of a people over some twelve hundred years, should decently be as impersonal as possible. / The illuminations of early Celtic manuscripts express not personality but temperament. They provide not graphic comment on the text but an extension of it. Their means are not available to us today - either temperamentally or technically - but certain lessons may be learned from them relevant to the present work, in particular they suggest that graphic images, if any, should grow spontaneously and even physically from the matter of the printed text. / If these images - these marks in printers ink - form an extension to Kinselias Táin, they are a humble one. It is as shadows thrown by the text that they derive their substance. (p.viii.) [signed: L. le B. Carros, France / November 1968.]
Ambivalent attitude: It would appear that this ambivalent attitude [12; …] was especially linked to the prehistoric Celtic world, and there is further evidence that it persists to some extent today […] I myself have learned from the canvas that emergence and immergence - twin phenomena of time - are ambivalent; that one implies the other and that the martrix in which they exist dissolves the normal sense of time, producing a characteristic stillness. (A Painters Notes on Awareness, in The Crane Bag, 1, 2, [q.d.], pp.68-69; rep. in Crane Bag Book of Irish Studies, 1982, pp.151-52; quoted in Richard Kearney, The Irish Mind, 1985, p.13.) Further: Is this the underlying ambivalence which we in Ireland tend to stress; the continued presence of the historic past, the indivisibility of birth and funeral, spanning the apparent day-consciousness/night-consciousness, like (Joyces) Ulysses and Finnegan? (Idem.) [ top ] References p align="justify">Websites [ top ] Notes br> Man Writing by Louis le Brocquy went for £133,500 at a Christies Irish Art Sale in May 1996 (see Robert OByrne, Irish Art - Then and Now, in The Irish Times, 15 Aug. 2009, p.17). p align="justify">Erwin Schrödinger: Schrödinger was invited to Dublin by de Valera in 1939 and stayed for 17 years; appointed director of the Dublin Institute of Advanced Studies [DIAS] and resided in Clontarf, where he entered the Irish intelligentsia; his family consisted of wife, daughter and daughters mother, and later the daughters of two other mothers; resisted condemnation of Myles Na Gopaleens irreverence and became friends with OBrien; advised him on his adaptation of The Insect Play by the Capek brothers. See John Gribben, Erwin Schrödinger and the Quantum Revolution (Bantam Press 2012), and review of same by Iggy McGovern in The Irish Times (2 June 2012), Review section, p.12. A Family (1951) by le Brocquy won the Prealpina Prize at Vienna Biennale, 1956; offered free to Municipal in the early 1950s; hung in Milan offices of Nestlé corporation until 2001; donated to the National Gallery of Ireland in April 2002 by Lochlann Quinn, a businessman who had purchased it from Mr. Adams of Agnews in London for £1.7 million and made the donation under the terms of the Taxes Consolidation Act. (See Report in The Irish Times [Weekend], 13 April 2002.) [ top ] Study of Francis Bacon: A watercolour by Louis le Brocquy fetched a record £153,600 (€229,000) at an auction of post-war Irish art in London yesterday [24 Oct. 2006]. The painting, Study of Francis Bacon, was purchased by a private Irish buyer and its price was the highest ever paid for a work by the artist on paper. Two other pieces by le Brocquy […] also featured in the top 10 purchases at the Sothebys auction. Study of Head from Memory, an oil on canvas, was sold for £96,000 (€143,150) and Still Life with Fruit, in pencil and watercolour, fetched £19,200 (€28,600). […]. (Fiona Gartland, Post-war Irish art in The Irish Times, 25 Oct. 2006.) River Liffey: A watercolour, River Liffey: The Source, by le Brocquy was auctioned at Adams in Blackrock for an estimated €10-12K.
[ top ] Up there: Mr le Brocquys oil portrait, Image of Samuel Beckett, was sold for £400,000 at the Sothebys Irish Auction in May 2007 (see The Irish Times, 10 May 2007).
Locations: the largest tapestry is held in the Carrolls factory building in Dundalk. Note also, a monochrome tiled floor based on the Táin hosting has been installed in the main area of the Verbal Arts Centre, Derry. p align="justify">Closing Prices: The highest price for a le Brocquy painting was £1.7 million (€2.1m) for A Family (1951) paid by Lochlann Quinn in 2002 from a London art dealer, the painting being subsequently donated to the NGI in remission of tax liabilities. The highest price ever paid at auction for a le Brocquy was also in London – at Sothebys 12 years ago [2000] – when the painting Travelling Woman with Newspaper sold for £1.15 million (€1.4m). In Ireland, the highest price at auction was achieved at Adams in 2006 when the painting Sick Tinker Child sold for €820,000. But, by last year, the impact of Irelands economic crash was evident and prices had plummeted. The highest price paid for a le Brocquy painting in 2011 was at Sothebys in London where Woman in the Sunlight sold for £79,250. A few months later, two of his Traveller paintings failed to sell at Christies. (See The Irish Times, 5 May 2012.) ^P> [ top ] |