Irish Arts Review

The New Generation: Denis Farrell and Mike FitzpatrickAuthor(s): Samuel WalshSource: Irish Arts Review (1984-1987), Vol. 3, No. 1 (Spring, 1986), p. 60Published by: Irish Arts ReviewStable URL: http://www.jstor.org/stable/20491863 .

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IRISH ARTS REVIEW

EXHIBITIONS

The New Generation Denis Farrell and Mike Fitzpatrick

Ballycasey House is situated to the left at the turn for Ennis on the Limerick Shannon road. The Gallery takes the space of the bottom two rooms of the

main house at the end of the drive-way, and this is where the FarrellFitzpatrick exhibition was hung.

The exhibition, subtitled, The New Generation, was a slight misnomer as the work of Mike Fitzpatrick has been seen from Ennistymon in Co. Clare to Perugia in Italy. Along the way he has missed out Dublin. Perhaps this may account for the category used as it can be reasonably argued that exposure in our capital city is how maturity is measured in Ireland. Mike Fitzpatrick's work is far from immature. The sculptor of the two exhibitors, he works in slate, elm and ceramic. The principal medium in this exhibition was elm and the

works in that wood were figurative and

not without a great deal of humour. He carves small, wooden men, no bigger in some cases than toy soldiers, which rant and rave and occasionally succeed against the large blocks of wood which they clamber or scale over. Other work bears the influence of ancient Egypt; the many Pharoah figures, crowned with the squat crown of Lower Egypt, dance and thrust themselves at many angles from their static plinths. It seems that while the smaller figures strive against the bas tions of bureaucracy, corporation or industry, the larger Pharoah figures are fiddling while their Rome burns!

The other artist in this two-man show was Denis Farrell, a recent graduate from the Limerick School of Art and

Design. The painter of the two, his work is understandably eclectic; it is obvious that he is still in the process of making up his mind about his choice of expression. His paintings are abstract, some very large, ranging from oil on paper or canvas to collage work verging

on design. Within the density of the different styles, dictated more by med ium and scale than anything else, there is a real desire on Farrell's part to make strong, colourful, abstract painting. This can be seen quite clearly in the smallish works, 'Paradise Lost' and 'Black Haven', and in some of the oil works on paper where the structure is more expressive, yet remains formal.

This inaugural, annual, New Gener ation show by The Gallery at Ballycasey promises much from this newly estab lished commercial gallery, the only serious such establishment in the Mid

West. If young, up and coming artists can professionalize themselves enough to deal with the commercial art business

with the respect it deserves, then The Gallery should prosper and in a large, industrial, catchment area like Shannon, so should the artists.

Samuel Walsh

The Bayeux Tapestry Women Artists and the The complte Tapestry in colour with Surrealist Movement introduction, description and commentary by WhitneyChadwick

David M. Wilson, Directorofthe British Museum This pioneering study is the first full Nothing remotely like the Bayeux Tapestry treatment of the lives, ideas and paintings of exists anywhere else. Nearly a thousand years the remarkable group of women associated old and 230 feet long, it tells the story, in a with the Surrealist movement. Few artistic series of vivid scenes, of the invasion of movements have celebrated the idea of England by William of Normandy and his Woman as passionately as did Surrealism and victory at the Battle of Hastings. This none have championed women's creativity as magnificent book is the first complete wholeheartedly. The individual lives of those reproduction of the Tapestry in full colour, involved - among them Eileen Agar, Leonora and the first to take advantage of its recent Carrington and Valentine Hugo - are cleaning and re-hanging. Here is a unique presented against the background of the

work of art and a unique historical document. turbulent decades of the 1920s, '30s and '40s. With 148pp ofcolour and 22pp of black-and- It is a refreshingly different, original and white illustrations, 19figures, afamily tree and a thought-provoking book. map, slipcased. 45.00 Wt ustratons, n colour6.50

The Parthenon and its Studies in Impressionism Ingres Sculptures John Rewald RobertRosenblum

John Boardman John Rewald's articles, published over Available again Photographs by David Finn almost fifty years, are widely scattered in Few painters have pursued their vision of an The most powerful and evocative scenes from periodicals, and some written in French have ideal reality with such unremitting the Elgin marbles and other sculptures from until now never been translated before. determination as Jean-Auguste-Dominique the Parthenon in Athens are displayed here in Gathered here, among others, are essays on Ingres. Robert Rosenblum, Professor of Fine photographs by David Finn. Full-page plates Renoir, Degas, Pissarro, Manet and Monet, Arts at New York University, has written a in colour and duotone reveal the stirring four important studies on Cezanne and a searching study of this complex man and his power of the Parthenon sculptures - riders brilliant examination of the Impressionist work. The magnificent colour plates, and charioteers in procession, youths battling brush-stroke. These little-known writings accompanied by full commentaries, include

with centaurs - as well as details never are characterized by Rewald's exceptional reproductions not only of Ingres' greatest perceived before with such clarity. The texts gift as a discreet but absorbing stylist, and the masterpieces (forty-eight of them in colour), by John Boardman, Lincoln Professor of meticulous research and new material that all but also paintings by contemporaries and Classical Archaeology and Art at the those interested in nineteenth-century followers which considerably enlarge our University of Oxford, are equally fresh and French art have come to expect of him. understanding of his genius. enlightening. With 119 illustrations, 8 in colour?25.00 With 190 illustrations, 48 in colour?25.00

With 249 illustrations, 15 in colour?25.00

For our compkte catalogue and details of new and forthcoming titles, please write to Sue Palmer, Thames and Hudson, 30 Bloomsbury Street, London WCIB 3QP (mentioningIrish Arts Review) -60

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