Lavery. On Location. at The National Gallery of Ireland
The National Gallery of Ireland's major autumn exhibition celebrates the master of en plein air painting...
By
Aoife Allen
October 11, 2023
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
After the recent end of its previous Lavinia Fontana exhibition this summer, the National Gallery of Ireland this weekend opened its new, equally impressive exhibition; Lavery. On Location promises to be the highlight of the gallery’s Autumn programme and a fitting follow-up to the summer show.
Focusing on the key destinations in the art of Sir John Lavery, the exhibition is held in the Biet Wing, rooms 6-10, curated by Professor Kenneth McConkey and Dr Brendan Rooney.
The vision of the internationally renowned Irish artist Lavery, perhaps best known for his society portraits, is brought to life in this most recent project. Born in 1856 in inner North Belfast, the artist soon moved to Glasgow while still a child. In his early 20s, he set up his own studio, which was devastatingly burned in a fire only the following year. Awarded a £300 insurance payout due to the blaze, Lavery was able to fund a year of study at Heatherley School in London, later continuing his studies at the Académie Julian in Paris. Upon his return to Glasgow, he became associated with the Glasgow School, a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s. Due to his acquaintanceship with Joseph Crawhall II, Lavery came into contact with renowned art collector and faithful patron of Scottish artists William Burrell. Due to this, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition in 1888, an act which launched his career as a political painter and caused him to move back to London soon after.
From this point on, Lavery enjoyed a lucrative career as an artist. Due to his inability to join the army during the First World War, Lavery remained in Britain, painting mostly boats, aeroplanes, airships and the occasional idyllic landscape. Tangentially involved in the Irish War of Independence and the Irish Civil War, he gave the use of his London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty and also painted Irish revolutionary Michael Collins after his death. Upon returning to Ireland in the 1930s, Lavery was the only Irishman to receive the Freedom of both Dublin and Belfast in the divided Ireland of the inter-war period. The richness and variety of Lavery’s work, particularly in his landscapes, led Winston Churchill to view him as his artistic mentor, stating that Lavery was a “plein-airiste if ever there was one”.
The National Gallery states that “This major exhibition will focus on the artist’s impressions of the people and locations that he encountered during a life filled with travel, allowing visitors to take a fresh look at the work of this highly respected painter”.
Famously, Lavery portrayed his wife Hazel as the allegorical figure of Ireland, painted on commission from the Irish government. This image was subsequently reproduced on Irish banknotes from 1928 until 1975 and then as a watermark until the introduction of the Euro in 2002. There was a certain formality to a lot of Lavery’s art, yet the National Gallery’s exhibition presents itself as casual and refreshing.
In depicting an artist who never travelled without his painting kit, the exhibition features the wide variety of destinations depicted in Lavery’s art, from Scotland to Palm Springs. The gallery has recently acquired the piece A Garden in France (1898), perhaps the highlight of the project; undeniably evocative of long summer days, the work possesses an inherent feeling of the French countryside, holding a relaxed energy and serving as a refreshing contrast to the more formal portraiture that Lavery is known for. This work captures the artist's time in the historic town of Grez-sur-Loing, whereas pieces such as Evening, Tangier (1906) speak to Lavery’s love for the Moroccan city; pieces which only further show the variety and seamless adaptability of the painter.
Discussions of this exhibition began in the heart of COVID lockdowns, a time when travel and freedom of movement felt so unreachable, and often was the last thought on people's minds. Nevertheless, the notion of travel has become particularly appealing for many of us over the past few years, and it is exhilarating to see Lavery’s work perfectly embody the desire for a life of varying locations, a desire many of us have not lacked, but were unable to fulfil in recent times.
Lavery. On Location. is showing at The National Gallery of Ireland until 14th January 2024.
Make sure to check in with the gowithYamo app when you visit!
