Quizzes & Puzzles1 min ago
Paul Henry, Irish Artist.
7 Answers
I was talking to some dog walkers in the park this morning and said I thought his work derivative. They disagreed. Do you?
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I most certainly would agree with you that Henry's work is indeed derivative. The work of Paul Henry derives from and was influenced by the French movement, known as the Barbizon School, which moved art away from the depiction of decadent Parisian scenes and toward the depiction of rural scenes that were meant to capture the reality of the land. The artist who...
16:26 Mon 22nd Aug 2016
I most certainly would agree with you that Henry's work is indeed derivative.
The work of Paul Henry derives from and was influenced by the French movement, known as the Barbizon School, which moved art away from the depiction of decadent Parisian scenes and toward the depiction of rural scenes that were meant to capture the reality of the land. The artist who probably did this to best effect was Francois Millet. He painted the world of the French peasant, and the farm labourer.
Half a century later, Paul Henry used the depiction of peasants and rural labour to try to capture the reality of the land he lived in, Ireland.
His paintings of Connemara and Donegal, while repetitive, are consistent attempts to depict "Irishness" by using images of Irish rural labour, in the same way that the Barbizon school, and Millet in particular, used images of French rural labour to depict "Frenchness". Both types of images (the French and the Irish) have contributed greatly to the image of the respective countries conjured up in popular folklore.
Henry depicted "Irishness" using the same and similar subjects and technques to those used by Millet to depict "Frenchness", so Yes, I agree with you, Sandy, his work is most definitely derivative.
Beautiful, though, and costly.
The work of Paul Henry derives from and was influenced by the French movement, known as the Barbizon School, which moved art away from the depiction of decadent Parisian scenes and toward the depiction of rural scenes that were meant to capture the reality of the land. The artist who probably did this to best effect was Francois Millet. He painted the world of the French peasant, and the farm labourer.
Half a century later, Paul Henry used the depiction of peasants and rural labour to try to capture the reality of the land he lived in, Ireland.
His paintings of Connemara and Donegal, while repetitive, are consistent attempts to depict "Irishness" by using images of Irish rural labour, in the same way that the Barbizon school, and Millet in particular, used images of French rural labour to depict "Frenchness". Both types of images (the French and the Irish) have contributed greatly to the image of the respective countries conjured up in popular folklore.
Henry depicted "Irishness" using the same and similar subjects and technques to those used by Millet to depict "Frenchness", so Yes, I agree with you, Sandy, his work is most definitely derivative.
Beautiful, though, and costly.
That's an exegesis and a half, and no mistake. ^^^
When I first saw them I think I had an experience of déjá vu. I thought I'd seen them, or their like, before.
Something similar happened when I first saw Lowry's work. I wondered was he painting scenes in a part of Belfast I didn't know. The answer there was simpler, a mill in Manchester looks pretty much like one in Belfast.
When I first saw them I think I had an experience of déjá vu. I thought I'd seen them, or their like, before.
Something similar happened when I first saw Lowry's work. I wondered was he painting scenes in a part of Belfast I didn't know. The answer there was simpler, a mill in Manchester looks pretty much like one in Belfast.
Laugh out loud, sandy, I got a bit carried away, I admit. You just happened to hit on a particular interest of mine, for I have always been fascinated by the "thatched cottage, mountain and bog" themes that are so common in Irish art, and I am a bit obsessive about trying to match these themes to similar themes of rural landscape and culture in the paintings of artists in other countries.
For example, the movement known as The Wanderers (notably Arkhipov), in Russia, around the same time period as the French Barbizon, began to paint realist rural themes of Russian peasants. Around the same period, artists from many other countries began to move away from portraiture and city scenes to depict their countries through the rural and landscape imagery that is characteristic of Paul Henry. Scottish art from the 19th century also carries many striking examples of artists' visions of their country as represented and identified by rural scenes.
But here I go again - give me a soapbox and I'm up there like a mountain goat. But I think there can be no doubt that Henry's work is derived from similar influences in many different countries.
I agree that Lowry's work gives the viewer a feeling of familiarity, but to me this familiarity is based on the fact that Lowry's images are reminiscent of the kind of drawing and painting that we all did in childhood, rather than being derived from the work of earlier artists that we are likely to have viewed and retained in our memory. I never really found much fascination in Lowry's work, maybe for the very reason of its familiarity.
Wouldn't mind owning an example or two, though.
For example, the movement known as The Wanderers (notably Arkhipov), in Russia, around the same time period as the French Barbizon, began to paint realist rural themes of Russian peasants. Around the same period, artists from many other countries began to move away from portraiture and city scenes to depict their countries through the rural and landscape imagery that is characteristic of Paul Henry. Scottish art from the 19th century also carries many striking examples of artists' visions of their country as represented and identified by rural scenes.
But here I go again - give me a soapbox and I'm up there like a mountain goat. But I think there can be no doubt that Henry's work is derived from similar influences in many different countries.
I agree that Lowry's work gives the viewer a feeling of familiarity, but to me this familiarity is based on the fact that Lowry's images are reminiscent of the kind of drawing and painting that we all did in childhood, rather than being derived from the work of earlier artists that we are likely to have viewed and retained in our memory. I never really found much fascination in Lowry's work, maybe for the very reason of its familiarity.
Wouldn't mind owning an example or two, though.
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