Ireland. Eire. Part III. Фомина И.В. - 15 стр.

again, this time with the help of many external stimuli. The views of Dublin,
drawn by Malton in the late eighteenth century, are a splendid example of the
draughtsmanship of this period. After the 1800 Act of Union, many artists emi-
grated to London, following the seat of Irish political power. But those who re-
mained in Ireland established organizations which today continue to support art-
ists such as The Royal Hibernian Academy (RHA) (founded in 1823) which pre-
sents an annual exhibition of contemporary Irish painters and sculptors.
       In the late nineteenth and early twentieth centuries, Irish painters looked
to the French Impressionists for a new idiom. Impressionism began to influence
Irish art and such painters as John Butler Yeats (1841–1957), John Lavery
(1856–1941) and William Orpen. These also include William Leech (1881–
1968), Walter Osborne (1859–1903), and Roderic O’Conor (1860–1940). The
most important painter of the period was Jack B. Yeats. Crossing from Impre-
sionism to Expresionism, Jack B. Yeats towers over his contemporaries much as
his brother, the poet W. B. Yeats was pre-eminent among his peers.
       Younger artists who trained under modernists in Paris include Evie Hone
(1894–1955), Mainie Jellet (1897–1944) and Mary Swanzy (1882–1978). In
1943 a group of younger artists founded the Irish Exhibition of Living Arts as a
reaction to the conventionality of the RHA. These artists, working in an abstract
expressionist mode, include Louis Le Brocquy (b. 1916), Norah McGuinness
(1901–1980) and Patrick Scott (b. 1921). Close to them too are Tony O’Malley
(1913–2003), Camille Souter (b. 1929) and Barrie Cooke (b. 1931) who experi-
ment within the tradition of landscape painting and often use tropical and desert
settings for their work. Camille Souter and Tony O’Malley were much influ-
enced by international trends. Paul Henry, after studying with Whistler in Paris,
returned to paint the landscapes of Connemara. By the 1930s, Irish art had taken
a very different turn: Seán Keating, Maurice MacGonigal and Seán O’Sullivan
settled for the school of realism. By the end of World War II, modernism began
to challenge the historic academic approach, with the emergence of artists like
Louis Le Brocquy, whose work is highly regarded today, along with that of his
wife Anne Madden.
       In the 1960s and 1970s, a new generation of Irish artists has continued the
vibrancy of modern art in Ireland, people of the caliber of Robert Ballagh, Mi-
chael Farrel and Tim Goulding. Modern media have been used, including video.
A strong new expressionist group of artists has emerged, including Michael Cul-
len (b. 1946), Brian Maguire (b. 1951), Eithne Jordan (b. 1954), Michael Mul-
cahy (b. 1952), Dorothy Cross (b. 1956), Alice Maher (b. 1956) and Michael
Kane.
       Sculpture in the nineteenth century was heroic and monumental as exem-
plified by the statues of Oliver Goldsmith and Edmund Burke by John Henry
Foley (1819–1974) outside Trinity College, Dublin. This tradition continued
into the twentieth century with the works of Oisin Kelly (1915–1981), Seamus
Murphy (1907–1974) and Hilary Heron (1923–1977) pioneering the use of new
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