Exhibition: Analyzing Cubism, Crawford Art Gallery, Cork

'After Cubism painting will never be the same' Daniel-Henry Kahnweiler, who first exhibited the cubist work of Braque and Picasso. How true this was in the case of the development of modern painting in Ireland, becoming the dominant influence. Most early writing on Cubism was done by the Salon Cubists. Braque and Picasso did not associate themselves with this movement. The advance of Cubism opened a whole world of freedom, liberating many artists from former constraints.
However, it was late (the 1920s) before it took off in Ireland. Its development there, while related to its centre in Paris, was from a limited contact and was often characterized by a provincial style with local narrative and was, in many cases more representational. Cubism became widely regarded as the style that defined Modernism. Academie d'Andre Lhote was run by artists who followed on from Braque and Picasso and was the influence of most Irish artists involved in Cubism. Yet it was regarded as the most progressive of Parisian academies. It was based on structural methods rather than subject matter. But most Irish artists used traditional subject matter and used Cubist formulas only in a limited way. There was a distinct influence also of other movements such as Impressionism, Futurism and Fauvism. Of all the Irish painters who studied there only Evie Hone and Mainie Jellett were most noted for their originality, absorbing Cubist principles more fully.
Mainie Jellett http://www.crawfordartgallery.ie/pages/paintings/MainieJellet2.html
Evie Hone:
http://www.askart.com/AskART/photos/WHY20071126_5026/68.jpg

Cubism could be understood as deconstructing and rebuilding elements in another way. This exhibition focused on Cubism as it applied to artists in Ireland such as Evie Hone, Mainie Jellett, Mary Swanzy, Paul Egestorff and Elizabeth Rivers, Jack Hanlon, Norah McGuinness and May Guinness. I found it intriguing that works of their European tutors Albert Gleizes and Andre Lhote were also included, and shown alongside that of their pupils, demonstrating how they were influenced. The paintings on display ranged from quite representational to completely abstract in varying degrees. And this was further illustrated with examples of preliminary sketches or workbooks.
There was a list of important dates on display helping to put the featured artists and paintings within the broader context of the local and wider world. One criticism I had  was a virtual absence of work by Braque or Picasso, to help make comparisons, and what little was shown were minor works.
Also, it would have been nice to have more comprehensive information available without having to buy the catalogue.

To me the painting by Jack Hanlon, Still Life c. 1942-45, Oil on canvas, 52.5 x 71.5 cm  is one of the more representational examples of the exhibition. The elements are very recognisable, made up of geometric shapes. There is a hint of light and shadow for instance behind the large narrow necked vessel on the left, and on the onion to the lower right. Visible brushstrokes  appear applied quite loosely. The surface on which the objects stand look ambiguous and closer to Cubism. Saturated and muted hues through to greys are juxtaposed creating a lively atmosphere.
Please note: The only image of this painting I have located is in the exhibition catalogue, so unfortunately possible copyright restrictions prevent me from displaying it and neither can I provide a link as it is nowhere to be found online.
In its place I have supplemented it with another similar painting. It is located on the left hand side, second from top.
http://www.mutualart.com/Artist/Jack-P--Hanlon/67175238302D303D/Artworks?Params=3936382C43757272656E74506167652C312C31