The Submarine, June 2013

The SubmarineVOL 8 NO 2.

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EDITORIAL

Some time ago I mentioned to Mr Watts that

we might do an issue based on the artistic

talent we have amongst us—very quickly he

seized upon the idea and in almost no time a

list of contributors, both staff and pupils, had

been commissioned, and when the time came

there was the work, ready to go. I had

forgotten that artists are doers and makers,

who dream in their own time.

To make art is a primary impulse in

all of us. It is based on sight, one of the most

important of the five senses. C

paint and make things. In this regard Picasso

is often quoted: ‘All children are artists. The

problem is how to remain an artist once he

grows up’. He is referring to a child’s lack of

fear, lack of constraint, and even lack of

judgement in the final result—

freedom of making, the spontaneity that is

important. This vital visual creative force gets

quickly diluted in all but the most committed.

But what a tale they have to tell, those who

keep at it.

Above all, art teaches us how to look. Most of us are merely

casual lookers, a one-glance people. But an artist studies form and

line, colour and texture, volume and dimension. They express the

visual world in their own terms, and like

their own voice—or rather, vision.

looking at, though all too often, because it appears so immediately

accessible, we find ourselves being

Yes, art does repay serious looking, a careful quartering

of the piece. Only then do we come to appreciate the balance

between chance and intention, and receive the thrill of the

physical reality of the work that a

yesterday or a thousand years ago

beyond. It captures something essential beyond shape or

form or colour. If we look properly at art we can carry away

with us into the actual world a new way of looking, a new

insight.

TMcC Librarian

Top: Columban Gothic 2013, Katie

Freddie Morris (Katie

Below: American Gothic by

The Submarine.

____________________________________________________________________________________________________

Some time ago I mentioned to Mr Watts that

might do an issue based on the artistic

very quickly he

e idea and in almost no time a

list of contributors, both staff and pupils, had

been commissioned, and when the time came

there was the work, ready to go. I had

forgotten that artists are doers and makers,

imary impulse in

all of us. It is based on sight, one of the most

. Children love to

In this regard Picasso

All children are artists. The

problem is how to remain an artist once he

He is referring to a child’s lack of

, lack of constraint, and even lack of

—it is the

freedom of making, the spontaneity that is

vital visual creative force gets

quickly diluted in all but the most committed.

what a tale they have to tell, those who

Above all, art teaches us how to look. Most of us are merely

glance people. But an artist studies form and

line, colour and texture, volume and dimension. They express the

visual world in their own terms, and like all creative people, seek

vision. In turn, art deserves serious

, though all too often, because it appears so immediately

find ourselves being dismissive or judgemental.

serious looking, a careful quartering

of the piece. Only then do we come to appreciate the balance

between chance and intention, and receive the thrill of the

physical reality of the work that a human hand and eye have created, be it

nd years ago. But art also teaches us to look through, to look

beyond. It captures something essential beyond shape or

form or colour. If we look properly at art we can carry away

world a new way of looking, a new

1.

Top: Columban Gothic 2013, Katie Stewart and

Freddie Morris (Katie Stewart, Instagram).

Below: American Gothic by Grant Wood, 1930

The Submarine June 2013

____________________________________________________________________________________________________

, to look

NEW ART BOOKS

THE LIBRARY

50 Photo Icons: the story behind the

pictures by Hans-Michael Koetzle

100 Ideas that Changed Art

by Michael Bird

Abandoned Mansions of Ireland

by Tarquin Blake

Art from the First World War

Imperial War Museum

The Art of China: 3000 years of art and

literature by Jason Steuber

A Grand Design: the Art of the Victoria

and Albert Museum by Malcolm Baker

and Brenda Richardson (editors)

A Handbook of Greek Art: a su

the visual arts of Ancient Greece

by Gisela M. A. Richter

Irish Country Houses: a chronicle of

change by David Hicks

Islam: Faith, Art, Culture: Manuscripts

of the Chester Beatty Library

by Elaine Wright

Leonardo and The Last Supper

by Ross King

National Treasures of Georgia

by Ori Z. Soltes

Patrick Pye, Life and Work: a counter

cultural story by Brian McAvera

Street Fonts: graffiti alphabets from

around the world by Claudia Walde

Symbolist Art in Context by Michelle Facos

Telling Images of China: narrative and

figure paintings, 15th

to 20th

from the Shanghai Museum,

McCausland and Lizhong Ling (editors)

A Terrible Beauty: British Artists in the

First World War by Paul Gough

Treasures of the British Museum

by Marjorie Caygill,

Urban Interventions: personal projects

in public spaces by Robert Klanten and

Matthias Hubner (editors)

V&A: The Victoria and Albert Museum

by Lucy Trench

NEW ART BOOKS IN

50 Photo Icons: the story behind the

Michael Koetzle

100 Ideas that Changed Art

Abandoned Mansions of Ireland

Art from the First World War ,

The Art of China: 3000 years of art and

A Grand Design: the Art of the Victoria

by Malcolm Baker

and Brenda Richardson (editors)

A Handbook of Greek Art: a survey of

the visual arts of Ancient Greece

Irish Country Houses: a chronicle of

Islam: Faith, Art, Culture: Manuscripts

of the Chester Beatty Library

Leonardo and The Last Supper

National Treasures of Georgia

, Life and Work: a counter-

by Brian McAvera

Street Fonts: graffiti alphabets from

by Claudia Walde

China: narrative and

century,

from the Shanghai Museum, Shane

McCausland and Lizhong Ling (editors)

Artists in the

by Paul Gough

Treasures of the British Museum

Urban Interventions: personal projects

by Robert Klanten and

_____________________________________

V&A: The Victoria and Albert Museum

2.

Torso, Bella Purcell

IN THIS ISSUE

New Art Books in the Library……

The Chester Beatty Library

The Last Supper Saya Kazuse

The Casino at Marino Mrs Haslett

What’s Painting Me (1)………

Reading between the Lines

The Bilbao Guggenheim

Poetry Howard Lawn…………

Review Molly Dunne……………………

The Lady Lever Gallery Ms Smith

What’s Painting Me (2)……………

DONORS: As ever, the Library is very

grateful to those who donated books to us

this term: Mr Finn, Mr Brett

Sowby, Mr Swift, the Warden,

Mr Jameson.

_____________________________________

, Bella Purcell

New Art Books in the Library………..…….. 2

The Chester Beatty Library Mr Watts…...3

Kazuse..................4

Mrs Haslett…………6

What’s Painting Me (1)……………….………..7

Reading between the Lines Ms Cullen....8

The Bilbao Guggenheim Bella Purcell.…10

……………………….…11

…………………………..12

Ms Smith…....…14

ing Me (2)………………….……16

As ever, the Library is very

grateful to those who donated books to us

Mr Brett, Dr David

the Warden, Celine Klee,

THE CHESTER BEATTY LIBRARY Mr Watts recommends the ‘exotic jewel’ that is the Chester

Beatty Library—and

mentions an extra

attraction

The Chester Beatty Library is a

rare and exotic jewel nestling in

the grounds of Dublin Castle

housed in the old Clock Tower

building which is on the site of

Dubh Linn (Black Pool) which

gave its name to Dublin City.

Within these walls is one of the

most extensive and important

collections of ancient Egyptian

papyrus texts, illuminated Bibles

and Qur’ans and many European

medieval and renaissance

manuscripts, Turkish and Persian

miniature paintings, Japanese scrolls and woodblock prints, Chinese dragon robes, carved Rhinoceros

horn cups, delicately carved jade books and many other outstanding works of art and examples of

exquisite craftsmanship from all over the world.

These extraordinary world renowned collections became the property of a public charitable trust on

the death of Chester Beatty (1875 -1968) an American mining engineer who had spent most of his

professional life collecting as he worked in Africa and Europe.

We are very lucky to have this treasure trove on our

doorstep as many scholars from all over the world travel

to study some of the unique texts found here. The Clock

Tower is a relatively new centre for housing and

displaying his collections. The refurbishment of the

building and the design of the exhibition space specific to

the particular needs of these collections is also an award

winning work by an Irish team winning European

Museum of the year in 2002. It opened on 7th February

2000 celebrating the 125th anniversary of the birth of

Chester Beatty, and since then it has been one of the most

visited museums in Dublin.

While there it is also worthwhile to stop for a coffee and

some delicious baklava, if not a full meal in the excellent

Silk Road Cafe which is too conveniently placed in the

atrium, very tempting!

3.

The Arrest of Christ, Book of Kells

– sketch, Leslie von Negenborn

THE LAST SUPPERSaya Kazuse considers Leonardo’s famous work of art

onversation had long been

depict not just actions but also communication. Leonardo solved this problem in The

Last Supper by using gestures and facial expressions,

famous and important works in the history of Western art.

Leonardo decorated the walls of the monk’s refectory, but was dissatisfied with the fast

drying fresco. This prevented him using the kind of fine detail he liked so he researched for

new technical solutions and experimented with mixed media. He mixed oil with tempera

paints, like that used for panel painting, but this, combined with plaster and the damper

climatic conditions of northern Italy, spelled disaster, and in less than twenty years the great

painting began to disintegrate. Since then every generation has worked hard to

There are differing opinions among art researchers as to which episode from the Gospels is

depicted in The Last Supper. Some consider it to portray the moment at which Jesus has

announced the presence of a traitor and the apostles are all

feel that it represents the introduction of the celebration of the Eucharist by Jesus, who is

pointing to the bread and wine with his hands. And yet others feel it depicts the moment

when Judas, by reaching for the bread

of St Luke, reveals himself to be the traitor. In the end, none of the interpretations is

convincing.

C

The Last Supper – sketch, Saya Kazuse

THE LAST SUPPER considers Leonardo’s famous work of art

onversation had long been a subject of interest and debate among artists who wanted


estures and facial expressions, making the painting one of the most

famous and important works in the history of Western art.

e walls of the monk’s refectory, but was dissatisfied with the fast



ike that used for panel painting, but this, combined with plaster and the damper


painting began to disintegrate. Since then every generation has worked hard to



announced the presence of a traitor and the apostles are all reacting with astonishment. Others



when Judas, by reaching for the bread at the same moment as Jesus, as related in the Gospel


4.

sketch, Saya Kazuse

considers Leonardo’s famous work of art

of interest and debate among artists who wanted to


making the painting one of the most

e walls of the monk’s refectory, but was dissatisfied with the fast-



ike that used for panel painting, but this, combined with plaster and the damper


painting began to disintegrate. Since then every generation has worked hard to preserve it.



reacting with astonishment. Others



at the same moment as Jesus, as related in the Gospel


Top: Mona Lisa by Leonardo da Vinci

Main picture: Mark Crampton by Katie

da Vinci-Stewart (Instagram)

Leonardo imagined, and has succeeded in expressing, the desire that has entered the minds of

each apostle to know who is about to betray their master. In the face of each one may be seen

love, fear, indignation or grief at not being able to understand the meaning of Christ.

The subject of The Last Supper is Christ’s final meal with his apostles before Judas identifies

Christ to the authorities who arrest him. Leonardo imagined the chaos that would have

followed when Jesus announced, ‘One of you will betray me’. In a superb psychological

study of human emotion, the apostles reel in horror, each one full of self-doubt and

confusion, and reacting with denial or disbelief. To solve the problem of the long

composition, Leonardo arranged the apostles in groups drawing away from Christ or leaning

towards him. They are connected by a series of hand and facial gestures communicating their

fear, anger or even sorrow. One lifts his hands as if to say, ‘Lord, it is I’ and clasps his hands

to his breast, while Peter, with a knife clutched in his hand, leans forward to John, seated on

the right of Jesus, and whispers in his ear. This action has the effect of pushing Judas aside

and isolating him from the group. He recoils in an opposite pose from Jesus, his hand

clenched, with Peter’s knife at his back. The central figure of Jesus remains serene and

dignified, alone in the knowledge of what is about to befall him.

The painting is cleverly arranged to give the impression of the wall receding back and the

group has the appearance of sitting at the top table in the room. The painted window forms a

natural halo behind the central figure of Christ, with all the perpective line converging on his

face. This—and his blue and red garments—draw the eye immediately to him.

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5.

Elephant by Leslie von Negenborn

THE CASINO AT MARINO Mrs Haslett explains the wonderful visual trickery of the Casino,

recognised as one of the finest garden temples in Europe

ne of the most intriguing and important Neoclassical buildings in the country, The

Casino at Marino on Dublin's north side enjoys a worldwide reputation. It was

created by James Caulfield, the first Earl of Charlemont together with his friend,

William Chambers, who was to become one of the leading British architects of the time, over

a period of twenty years between 1755 – 1771.

Charlemont had spent nine years on the Grand Tour of Europe and was determined to bring

back to Ireland the latest and best architectural ideas, and, in the fashion of the time, create a

small elegant garden temple to be set in open parkland—a project which was designed to

unite his love of Italy and Ireland. He had met all of the major collaborators in the project in

Rome—Joseph Wilton the sculptor, Cipriano the painter, Vierpyl the sculptor and above all

Chambers, whose design was published in 1759. In true Enlightenment style Charlemont

made the philanthropic gesture of opening up his fine park to the general populace so they

could admire his elegant and perfect temple for themselves. Enjoying wonderful views across

Dublin Bay to the Wicklow mountains it was essentially conceived as a place where he could

entertain his guests in sumptuous style. Furthermore, it was to be the focal point of his newly

created park which was developed in the style of Capability Brown. Sadly none of this park

remains.

The design and lavish realization of The Casino have fascinated and appealed to its visitors,

and it is now recognised as one of the finest garden temples in Europe, comparable to

Gabriel’s Petit Trianon at Versailles. It was outrageously costly as no expense was spared as

continued on page 13

6.

O

WHAT’S PAINTING ME (1)

In which we ask selected critics to nominate their favourite works of art

Mr Higgins: Van Gogh – Starry Night Sky? Starry

Sky? It’s the one with the swirly stars. They’re like

galaxies.

The Submarine: Is it the astronomy appeal?

Mr H (looking it up on his laptop): He painted it long

before spiral galaxies had been discovered, yet look at

it, there they are. Plus I just like it. Yes, it’s called

Starry Night.

The Submarine: Wow.

Dearbhla Gernon: ‘Lady with

an Ermine’ by Leonardo da

Vinci – I can’t remember the

painting exactly but I do remember the glow the lady had to her pale skin, she

was painted with great use of the contrast of light and dark, causing her natural

glow to radiate from her flawless face. I thought her hand was disproportionate

to her face but it was so well painted showing her elegant positioning. I

thought the painting showed a woman in very high fashion at the time of the

Renaissance and how different our idea of beauty is today.

Mr Patterson: No, I don’t like art. Or poetry.

Friedericke Wagner: Trajan’s Column. It’s impressive how detailed the

2500 figures on the column are, and that they were able to build such a

column in ancient times. It’s pretty impressive too that it was made by many

different builders but still the whole column looks as if it was made by one

person.

Rev Crossey: An artist called

Jack Vettriano. He’s a really

popular Glasgow artist, but he’s

panned by the critics. He does glamorous people on

beaches, things like that.

The Submarine: Which one of his would you choose?

Rev Crossey: Mad Dogs. It has this Impressionist feel. It

raises questions, why are they there, who are they, what

are they doing?

The Submarine: And the light is very Impressionistic.

You can’t see their faces either. And Mad Dogs

because…?

Rev Crossey: Yes, out in the midday sun.

Julian Kruse: ‘What to think and what not to think’ – I don’t know the artist. It’s an awesome

installation of neon lights in a dark room, thought-provoking, cool, modern.

Ciaran Chisholm: ‘Drawings on a Prep Notebook’, artist unknown. Very detailed and abstract.

Interesting to look at.

7.

READING BETWEEN THE LINES Ms Cullen considers the importance of line, and discusses the

one that connects Leonardo da Vinci with Sean Scully

he ability to view and appreciate art is (for the most part) free and I enjoy the fact we can

dip in and out and view what pleases us at a particular moment in time. Regular trips to

various galleries also allow us to have new favourites which can be updated regularly.

What is it that makes us enjoy viewing a painting? Is it the subject matter? Yes,

sometimes. Is it the colours or the scale of the work? The answer is yes, sometimes, it

depends. However, the one element which appears to be a consistent point of interest and

which holds appeal for me is the simple line.

Line—so what is line? We are always on about lines. There are no fewer than 62

explanations for line in the Collins English Dictionary. Lines can be metaphorical, real or

imagined. Is a line a series of dots or is it a continuous mark starting at one point and ending

at another? Is there actually a line on the horizon? Does the suggestion of a line mean there is

a line? Look at this text; is it not just a

series of lines? Lines have the ability to take

us places, to get us from one point to another

and our lineage shows us where we have

come from. Lines of communication connect

us but some lines divide us. There are

mathematical lines, timelines, boundary

lines, lines that are crossed and lines drawn

in the sand. We read between the lines and

sometimes we walk the line.

As children we were asked to take a

line for a walk. Naive, but no more naive

than some of the first art works of which we

have evidence such as cave painting or the

Neolithic stone carvings at Newgrange.

Thinking back to those first lines made by

man on stone, or indeed the first lines

made by a young child, was it simply

just a mark that was made which

travelled from one point to another?

Or as Paul Klee said, ‘a dot that just

went for a walk’?

I remember being at University

and during a review of my work I was

asked ‘when does a line stop being a

line?’ What seemed like a silly arty

type question has actually stuck with

me. Is it when it becomes a shape or

does a shape still not get to have a

line?

The master of blurring the

lines was Leonardo da Vinci. The

technique ‘sfumato simply translates

as smoky effect or, as it is explained in the Oxford Dictionary of Art, ‘a blurring or softening

of harsh edges by subtly blurring tones and colours’. Leonardo is famous for employing this

8.

T

technique in his work, most notably in the painting of the Mona Lisa. Where some artists

seek to define the line da Vinci tried to blur it. It is undoubtedly a difficult technique to

master but one of my favourite of his works is ironically the unfinished ‘Adoration of the

Magi’. Before the edges could be blurred da Vinci had to draw the lines and in this work we

get to view numerous characteristics of exemplary draughtsmanship. Not only do the lines in

this work explain the narrative of The Adoration, they create a sense of passion and energy

which might otherwise have been flattened by paint and ‘sfumato. Lines appear from the

shadows of the steps in the background of the under painting. The lines which depict the

horses rearing up embody movement and weight .The figures in the foreground are composed

of light delicate lines and the architectural lines are faultless. Another superb reference for da

Vinci’s line drawing is his numerous notebooks where he logged all of his ideas and designs

from natural science to engineering.

Figurative drawing and painting continue to be a strong point of interest for me but

rather than dwell on easily recognisable lines, by contrast, lets briefly look at the abstract

paintings of Sean Scully which are housed in the Hugh Lane Gallery in Dublin. What are

these paintings? Are they lines or stripes and if they are stripes what is the difference? Maybe

they are planes. Perhaps they are shapes and the lines that appear between them were a happy

accident. The lines between these shapes differ depending on the colours layered beneath and

the force at which the paint was applied. Up close the lines are not as straight as they might

appear, suggesting raw human energy. I love the arrangement of the lines yet I also enjoy

that there is no real order and when they end you are left wondering where they might

reappear. He speaks of his own work as being ‘endlessly linear’. But what does that conjure

up in one’s mind? Is it a straight line going nowhere or is it infinite? Does it twist and curl?

And where will that line take him in his quest for artistic expression? In any case it allows us,

the viewers, to take it to a place of our own.

Every artist and art movement is concerned with line. Whether they resist it like Yves

Klein or embrace it like the German Expressionists it is a constant cause for comment and

critique. After only scratching the surface of the complexities of line or indeed the lack of it, I

find myself more confused than ever! And whilst I acknowledge that my quest for the perfect

line will be a long and tortuous journey, this quote by Henri Matisse best describes how I

currently find the line in my own painting pursuits. ‘I don’t paint things. I only paint the

difference between things’. And it is here I will finish, now that I have come to the end of the

line (literally)!

9. Portrait of Oisin Large 2013

(pixlr)

Portrait of Tami Adeola 2013

(Vintage Camera)

Portrait of a Man

by Jan van Eyck,

1443

THE BILBAO

GUGGENHEIM Bella Purcell shares her

favourite gallery

Of all the galleries that I have visited, I

would have to say that the Bilbao

Guggenheim in Spain stands out in my

mind. It is a museum of modern and

contemporary art. Not only does it contain some

brilliant examples of modern art, it houses them in such an

amazing building, designed by American architect Frank Gehry. The entire

gallery, including much of the interior, is made from titanium, creating an incredible effect

as the sunlight is reflected from the various curved parts. I really liked this because it gave

me a sense of the artistic function that it was serving even before I got inside the building.

There is so much to see in the Guggenheim, from arresting LED instillations to several

Rothko paintings. The instillation that I love the most is Richard Serraʼs piece ʻThe MaAer of

Timeʼ. It is found in the largest room which is 30 meters wide and 130 meters long. It

consists of large pieces of bent steel pieces. It is said to perhaps be the largest installation

ever to be housed in a gallery and it was designed specially to be a permanent exhibition at

the Bilbao Guggenheim. What is special about these pieces is that you are invited to be a

participant in the art piece; you can walk in and out of the various spirals and zigzags

created by the immense pieces of metal. It is almost mazelike. Another aspect to the

Guggenheim Museum that I like is the outdoor art. There are two large sculptures outside

that are among my favourite pieces from the museum. The first is a terrifying sculpture of a

giant spider by Louise Bourgeois entitled ʻMamanʼ. Itʼs colossal size means that you can walk

around between its legs and look up at the spider as it towers over you. The exaggerated

length of the legs and rough feel to the piece make it very compelling to look at. The other

major outdoor sculpture is Jeff Koonʼs ʻPuppyʼ. It is a 13 meter high topiary of a Terrier

puppy decorated with flowers. Of course, this huge dog is quite an attraction for tourists,

and for good reason. I love the quirky feel that its presence give to the surroundings.

Generally, I feel that the Bilbao Guggenheim museum is a

great art gallery because it allows so

much interaction with the art that is

placed all around. It creates a brilliant

environment for viewing and

connecting with all of the weird and

wonderful pieces that it contains.

10.

Mantak Suen, Portrait

(Ms Cullen, Sketch Me)

Translation of ‘Рано утром…’

Howard Lawn

Early morning on a Monday,

Walked the laziest of men,

A bearded youth yet rather handsome,

With a sketchpad and a pen.

All our street was in a hurry,

Off to do their daily chore,

Auntie Pat was doing knitting,

Sitting at her open door.

He it was who looked up smilin’

‘What a profile!’ laughed the lad,

‘Stay as you are!’ And with his pen,

He drew her portrait on his pad.

Let a century go by now,

And another after that,

Knitting—Auntie Pat’s still sitting,

As a portrait in our flat.

11.

11.

Talented People Howard Lawn, 1964

Where have you been!

Haven’t you seen?

All of the talented

People I mean…

Wherever you go,

Well, What-de-yeh know,

Toddlers, teenagers,

Stealing the show…

I saw a display

Of young artists today,

Whose figures of clay

Just blew me away…

Then that kid in the street,

Who had two magic feet,

And the girl in the mews

On her own…singing blues…

I find it impossible—that’s why I stare,

At all of those talented people out there.

No matter whatever may come thru’ life’s door,

The boat will not stop though you fall at the oar,

The battles won’t cease when you die in the war,

No matter what happens—

There’ll always be more…plenty more.

So never despair, if your best will not do,

Step aside,

Let those talented people through!

Andy Warhol, Self portrait

Ife head: Bronze head of an Oni, one of the rulers of Ife in Nigeria, one of

medieval Africa’s most powerful and wealthy kingdoms, c. AD 1100-1500

– courtesy British Museum.

REVIEW Molly Dunne reviews

100 Ideas That Changed Art by Michael Bird

100 Ideas That Changed Art by Michael

Bird doesn’t focus on any one aspect of art

but gives you a brief introduction to one

hundred different topics. I think the reason

I like the book so much is that it is really

accessible; you can open it on any page

and begin to read. It describes ideas from

as early as cave paintings through to the

internet and street art all the way to

ephemerality, which is art that doesn’t last.

It examines traditional ideas such as

portraiture and oil painting but also

highlights more obscure aspects of art such

as hallucinogens and conceptual art. Each

entry explores when an idea first evolved,

and how it resurfaces in the work of

different artists up to the present day, and it

is very well illustrated with examples of

works in the same genre, yet which are

always very different in appearance. It is a

great source of inspiration as it enables you to flick through various aspects of art and draw ideas from

more than one source easily and accessibly. My particular favourite is idea number13, “Lost Wax

Casting”. Originally it was used to make tools by casting molten bronze in simple sand or clay

moulds. This method was refined and now enables bronze smiths to cast large objects such as statues

with great detail and in extremely lifelike poses.

__________________________________________________________________________________

12.

Above: Portrait of Konstantin

Seemann 2013 (Ms Cullen, pixlr)

Left: Portrait of Edward Millet by

Vincent van Gogh, 1888

Chai-Ro page, Book of Kells

—sketch Leslie von Negenborn

from page 6 Charlemont spent at least £30,000 in its construction

built of the finest Portland stone which was chosen in part to facilitate the delicate carving

which characterises the exterior of the building. No expense was spared in terms of the

materials which were used, both inside and out and Charlemont often found himself

overstretched financially as his extravagant and idealistic vision unfolded.

Essentially the entire build

the appearance of being a square building whereas in fact it is a Greek cross. In spite of the

overriding impression of symmetry each of its four facades is different and distinct and the

decorative carving is richly intricate and symbolic. The external appearance is that of a single

storey building whereas there are three storeys containing some 20 rooms. The podium

contains 8 servants’ rooms and the attic storey contains a further suite of rooms

windows are concealed behind the balustrades. The vases on the parapet are in fact chimneys.

The four couchant lions on each corner of the building were to contain fountains. Of all the

windows all but two contain dummy elements to preserve the perf

exterior. The corner columns are hollow serving as downpipes for rainwater and are said to

emit a ‘singing noise’ during heavy showers. External tunnels connected the Casino to

Marino House lest the presence of servants disturb the s

The subtle proportions tend to make the Casino appear much smaller than it is

cube of 48’ to the walls and it is a revelation to enter the building and discover a range of

rooms all with perfectly harmonious proportions with differing ceiling hei

many stratagems to enhance their proportions and confound the visitor. The change of scale

between the exterior and interior is remarkable and dramatic.

Inside the Casino are wonderful plaster ceilings and all designed to increase the s

of space and there are marvellous parquet floors using many different exotic woods which are

used to form geometric and possibly symbolic patterns. Wonderful curved mahogany doors

(both real and fake) abound but sadly the original furniture and firepl

However, it is the genius of the design that impresses above all and the complex interaction

between the various interior spaces is fascinating. Surprises abound as what appear to be

large doors are in fact small, doors are not alwa

windows! Another surprise is

enjoys natural light, including the staircase. One of the most unexpected surprises is to be

found on the top storey in the Stat

The Casino fell into disuse and disrepair but was

was framed to allow the Casino to be taken into state care

since 1984 and is well worth a vi

the final surprise is that William Chambers never visited Ireland or saw the finished

expression of his design.

_______________________________________________________________

Charlemont spent at least £30,000 in its construction – a fortune in today’s money! It was


the exterior of the building. No expense was spared in terms of the


overstretched financially as his extravagant and idealistic vision unfolded.

Essentially the entire building is a series of tricks and its plan was ingenious. It has



ive carving is richly intricate and symbolic. The external appearance is that of a single


contains 8 servants’ rooms and the attic storey contains a further suite of rooms



windows all but two contain dummy elements to preserve the perfect proportions of the



Marino House lest the presence of servants disturb the scene.

The subtle proportions tend to make the Casino appear much smaller than it is


rooms all with perfectly harmonious proportions with differing ceiling heights and the use of


between the exterior and interior is remarkable and dramatic.

Inside the Casino are wonderful plaster ceilings and all designed to increase the s



(both real and fake) abound but sadly the original furniture and fireplaces have not survived.



large doors are in fact small, doors are not always doors and some doors can become

that because of the ingenuity of the design each interior space


found on the top storey in the State Room—but you can discover that for yourself.

The Casino fell into disuse and disrepair but was rescued in 1930 when a special A

was framed to allow the Casino to be taken into state care. It has been open to the public

since 1984 and is well worth a visit as excellent guided tours are offered to visitors.

that William Chambers never visited Ireland or saw the finished

_______________________________________________________________

Sketch,

a fortune in today’s money! It was


the exterior of the building. No expense was spared in terms of the


ing is a series of tricks and its plan was ingenious. It has



ive carving is richly intricate and symbolic. The external appearance is that of a single


contains 8 servants’ rooms and the attic storey contains a further suite of rooms whose



ect proportions of the



The subtle proportions tend to make the Casino appear much smaller than it is – a


ghts and the use of


Inside the Casino are wonderful plaster ceilings and all designed to increase the sense



aces have not survived.



some doors can become

that because of the ingenuity of the design each interior space


but you can discover that for yourself.

rescued in 1930 when a special Act

t has been open to the public

sit as excellent guided tours are offered to visitors. Perhaps

that William Chambers never visited Ireland or saw the finished

_______________________________________________________________

Sketch, Saya Kazuse

The Lady Lever Gallery, Port Sunlight

Ms Smith suggests a visit to a fascinating gallery in The Wirral,

outside Liverpool

Above: a finished work from The Briar Rose series of paintings by Edward Burne-Jones, and (next

page), preparatory sketches. The Briar Rose is another name for the well-known Brothers Grimm

fairy tale, Sleeping Beauty.

've stumbled upon a number of small and fascinating galleries in various parts of the world

but there is one in particular I've returned to a few times now - The Lady Lever Gallery in

Liverpool. To be honest, its art collection is only one of the reasons it's worth a visit. The

gallery is in the garden village of Port Sunlight which was built by a multi-millionaire soap

magnate called William Hasketh Lever for his workers and their families. He named the

village Port Sunlight after his business's best-selling soap, 'Sunlight Soap'.

The gallery was built in 1922 and dedicated to Lever's wife, Elizabeth. Lever believed

that art should be accessible to the public and his gallery has been serving the people of

Liverpool and Merseyside since it opened ninety-one years ago. The Gallery's opening came

just a few years after the village had suffered the loss of many of its young men in World

War I. A stirring memorial of their lives stands on the walkway from the cottages to the

gallery.

In the 1880s Lever began searching for art to use in advertisements for his soap (a

relatively new idea at the time) and he quickly became an enthusiastic, respected collector.

There are now 20,000 pieces in the collection, including paintings, tapestries, china,

embroideries and drawings. Many of the paintings are famous, large-scale pre-Raphaelite

works illustrating intricate stories and poems.

In my opinion the most interesting pieces are the drawings - simple pencil sketches

show raw talent, and looking closely at the fine lines of the collection's numerous paper

works is one of the highlights of a visit here. In fact, this summer there is to be an exhibition

of the drawings of a well known Victorian artist, Edward Burne-Jones. Works too delicate for

long-term display will be brought out of storage, many of which are preparatory drawings for

large-scale works also in the collection. Seeing the steps the artist takes provides a great

opportunity to understand their methods and can enrich the experience of viewing the

finished article.

If you do find yourself in Liverpool, I urge you to pay Port Sunlight and its gallery a visit!

14.

I

___________________________________________________________________________

WHAT’S PAINTING ME (2) continued

Arthur Sohler: The exhibition of the cities Pompeii and

Herculaneum – volcanic eruption. It was nice to see the

simulation of the eruption, and how it happened. There

were also many, many remains in the museum.

Eliza Willisch: Elephant by Leslie Negenborn. I was

really impressed by this picture! The elephant in the

middle looked so real even with blue ears. How she is

able to draw such paintings impressed me. She is really

talented. (See page 5)

Paula Mora Real: Metropolis Building, Madrid. It is one of my

favourite buildings in my city. It is an old building, but it looks

like new, it’s very original—the bottom part is grey with some

windows—it’s semi-circular, the top part is black and there are

some golden details. The black roof has flowers…. Up the

building there is a black angel (it is a statue) and down the angel

is written ‘Metropolis’.

Tami Adeola: Mona Lisa by Leonardo da Vinci. This painting

had perspective in it with a natural background. The

painter used a lot of sfumato making her look a lot more realistic.

Oil paint was used instead of the regular egg-white paint. This

was not a religious painting just a painting of a pregnant

merchant’s wife. We know this because her hands are swollen.

15.

WHAT’S PAINTING ME (2)

Mr Finn: Art? Recently? Mainly primitive phallic symbols drawn

on copies, desks, walls, and prep notebooks…no shame left, they

used to whoops, cover it up, but not any more. Oh, you mean like in

a gallery? I haven’t been near a gallery in a while…I’ve a friend

who’s an artist, Gonzaga past pupil so he’s best quality. Cian

McLoughlin. He paints professionally, really good self-portraits. He

did a lot of stuff for the Beckett centenary, portraits of Michael

Gambon, John Hurt, Barry McGovern, Brian O’Driscoll. He used to

live in London, and did a lot of the old Irish over there.

Ms Robinson: I don’t do paintings—when was I in a gallery last?

Emmm…emmm. Emmmmmmmm.

The Submarine: Does Alex paint yet? Ms R: No, he’s only three,

he just eats everything. He’s a real sportsman.

Tara McCormick: The Girl with the Pearl Earring by Vermeer – At

first when I saw it I was bored. When I looked at it for a bit longer all I

could stare at were her eyes. They didn’t show much expression but there

was definitely a story behind them. She looked distant and sad...troubled.

Her pearl earring almost jumped out of the picture at me, some say it was

a mistake, a blob of paint gone wrong. I don’t think this is true, it’s too

perfect. Maybe it was one of her prize possessions, one of her treasures.

Maybe someone gave it to her, who? I wanted to know what her story

was, who she was and where she came from, why was she painted? I

think there is a lot more to this painting than meets the eye.

Alex Owens: Water Lilies by Monet.

I just like the simplicity of it more

than anything, also the colours in it.

It’s an appealing painting to any girl

I think, with its shades of blue, pink and white.

Mr McAlinden: Yes, I was in the National Gallery last weekend.

I always go and see The Liffey Swim.

The Submarine: Jack B. Yeats, excellent.

Mr McAlinden: I look at the faces in the crowd, a different face

each time. Sad, I know.

The Submarine: No, they’re fantastic, real

Dublin faces.

Nicola Dalrymple: I’m not sure of the artist or

the title. It was a painting of a young Romanian

girl who was making clothes or something. For

her rag doll which was on her lap. It really told a

story I thought and it was beautifully painted.

Ferdinand Jenckel:

Miniatur Wunderland –

Train Museum,

Hamburg – It is a nice

museum, the whole of Hamburg is shown in miniature. You can see all the

airports and other things. And also other countries are shown in detail, it is

really interesting, you have to go there if you are in Hamburg.

16.

Documents

The Submarine, June 2013