In the next blog of our Gallery Voices series Olive Barrett, from our Visitor Engagement Team, gives us an insight into how visitors to the exhibition Patrick Hennessy De Profundis are surprised with how talented, skilled and forward thinking Hennessy actually was.
The Patrick Hennessy exhibition, De Profundis, showing in the East Wing Galleries since March this year is now in its final week ending this Sunday 24 July. For many visitors to the gallery this is the first time that they have experienced Hennessy’s work and many people are of the opinion that the work is unusual for an Irish artist of his time. Patrick Hennessy was born in Cork in 1915, educated in Scotland and worked for a time under the Cubist master Fernandez Legér after winning a scholarship to Paris in 1937. The main perception from the public is that he was an artist and painter who had been forgotten about and had not readily received the acclaim that he deserved in a National Institution until now.
The admiration for his work is obvious as one is present in any one of the four rooms or along the main corridor of the exhibition. For those who were familiar with the artist’s work, they had never realised how prolific a painter he was, the high skill level and execution of his subject matter or the diverse and avant-garde manner in which he painted. Hennessy was also a gay artist who openly expressed his sexuality in his work when it was not commonplace to do so and when it was in fact illegal in the state to be gay. This has been significant to many visitors not only artistically, culturally and socially but also regarding equality in light of the recent marriage equality referendum and rights for the LGBT communities. Viewers have been overheard saying that they had not realised the symbolism surrounding the wearing of a red tie to signify male interest and sexual orientation as is seen in the paintings, Portrait-Figures (Self Portrait), 1972, and the recent addition to the exhibition, Portrait of a Young Man. People have found this fascinating and have commented that this provides an almost alternative language to the work while also telling Hennessy’s own personal life story. Questions have arisen around the artist’s depiction of women in his portrait painting and of how his male subjects are painted in a much more sympathetic and physical manner.
Rooms two, three and four have fascinated the public Continue reading