This week we have been listening to a companion CD, created to illuminate and celebrate the musical influences at work in the period of 1690-1840 in Ireland, and to sponsor new musical masterpieces inspired by the themes of the exhibition. Some of the music is from the ancient harp tradition, some carefully curated from the distant past by Liz Knowles, and some specially composed by Liz Carroll. We will have an exclusive track from this recording next week. For now we highlight the scope of the exhibition
“It will be the first major exhibition to showcase the decorative and fine arts of 18th century Ireland, bringing together more than 300 objects – many never before seen in public – lent by public and private collectors across North America. The exhibition, which continues through June 7, 2015, will provide an extraordinarily rich overview of Ireland’s creative legacy. To add to the Gaelic atmosphere of the show, a temporary Irish pub has been created in the museum’s Café Moderno where guests can hoist a beer after they visit the exhibition.
The seeds for the exhibition were first planted by historian Desmond FitzGerald, the Knight of Glin, who in his 2007 book Irish Furniture outlined his vision for “a major exhibition on Ireland’s Decorative arts of the 18th century, which would include furniture [and] bring together the common threads of the different fields. … A show of this stature would waken up the world to a staggering array of art that was manufactured in Ireland during this period.”
Ireland expands on FitzGerald’s vision to also include paintings, sculpture and architecture as well as ceramics, glass, furniture, metalwork, musical instruments, and textiles. Such an exhibition has never before been undertaken on either side of the Atlantic.
Organized thematically in 10 galleries – from portraiture to landscapes, from Dublin to the Irish country house – the exhibition celebrates the Irish as artists, collectors, and patrons. Through this exhibition and its accompanying catalogue, these often little-known and mostly privately held objects will be shown together for the first time.
The exhibition begins in 1690, the year of the Battle of the Boyne, and ends in 1840, a few years before the onset of the Great Famine. Galleries will explore the harp as a symbol of Ireland; portraiture in Ireland; Dublin as a center of government, commerce, and education; Irish landscapes and tourism; and the material world of the Irish country house (with particular attention to Carton House, County Kildare, and Headfort House, County Meath). A series of “Made in Ireland” galleries will feature objects in all media highlighting Dublin, Belfast, Cork, and Waterford as centers of production and consumption, and will also include amateur arts such as needlework and cut paper. Objects representing more than 24 of Ireland’s 32 counties will be on display.
The exhibition, organized by Christopher Monkhouse, Eloise W. Martin Chair and Curator, European Decorative Arts, was conceived with an American audience in mind, so one curatorial goal was to identify potential loans from public and private collections in the U.S. The Art Institute’s own important Irish holdings serve as the nucleus of the exhibition. Added to those works are important objects with an Irish provenance, many never seen in public, from private collectors, as well as from major institutions such as the Metropolitan Museum of Art; the Museum of Fine Arts, Boston; the National Gallery of Art; and the J. Paul Getty Museum, Villa Collection.
“We hope this exhibition will present Ireland as a multilayered mix of artistic cross-currents,” said Monkhouse, “and we are grateful to those collectors and institutions whose objects are enabling us to present a thorough view of this rich period of Irish creativity.”
Notable items in the exhibition represent the breadth of Irish decorative arts practiced during the 18th century. The image of the harp became a key symbol of Ireland during this period, and Dublin craftsman John Egan was well known for his gut-strung Portable Irish Harps, one of which appears in the exhibition. Other musical instruments on display include a cither viol, also called a Sultana, and an upright piano, an Irish invention.
A broad selection of paintings and works on paper are on display, including Irish landscapes, still lifes and portraiture. Examples range from Robert Fagan’s titillating Portrait of a Lady as Hibernia to a rare group portrait of officers and Belfast literati, Joseph Wilson’s The Adelphi Club, Belfast. Neoclassical artist Adam Buck is represented by a self-portrait with his family, which includes a poignant marble statue of a deceased child that presents a stark contrast to the elegant setting and Buck’s fashionable clothing.
Two of the highlights of the exhibition are from the museum’s own collection: One, a fine example of Irish furniture, is a marquetry desk and bookcase made by John Kirkhoffer. The other is an important piece of silver by Dublin silversmith Thomas Bolton, a large monteith, or bowl, used for cooling wine glasses or serving punch.
The exhibition catalogue features essays by leading scholars including Toby Barnard, Tom Dunne, Finola O’Kane, Kevin Mulligan and Brendan Rooney. Published in association with Yale University Press, it will create a lasting record of the Irish objects that have made their way to North America. Other media prepared for the exhibition include a special audio tour and a CD of Irish music by fiddlers Liz Knowles and Chicagoan Liz Carroll.
Lecture: Exhibition Overview of Ireland—Crossroads of Art and Design, 1690-1840
April 17, 2015
Free with museum admission
Jeff Nigro, scholar, discusses the exhibition Ireland: Crossroads of Art and Design, 1690-–1840. Registration is not required for this program.
Lecture: Vanishing Ireland
April 18, 2015
Free with museum admission
Best-selling Irish author, historian and television personality Turtle Bunbury offers an engaging reflection on Irish life, identity and personalities from the past to recreate a poignant and fascinating world of music, emigration, humor and resilience. The tale he weaves features many amazing photographs of old Ireland, as well as photographic portraits from the award-winning Vanishing Ireland series.
Woman’s Board Lecture/Luncheon: Ireland–Crossroads of Art and Design, 1690–1840
May 5, 2015
Rubloff Auditorium and Stock Exchange Trading Room
For the 2015 annual lecture/luncheon program, the Woman’s Board of the Art Institute of Chicago welcomes Christopher Monkhouse, Eloise W. Martin Chair and Curator of European Decorative Arts, for an insightful overview of Ireland: Crossroads of Art and Design, 1690-1840.
Space is limited. Please contact the Woman's Board at (312) 443-3628 email@example.com for more information or to purchase tickets.
Emma Donoghue: Raising the Dead
May 28, 2015
Free with museum admission
Born and reared in Dublin and now living in Canada, novelist and historian Emma Donoghue (Room; Frog Music) reflects on her Irish background and how it has informed her writing for more than two decades. She will talk in particular about the techniques and ethics of her fact-inspired fiction that draws on real Irish lives, at home and abroad, from the 14th century to the nineteenth.
Irish Music Concert
June 6, 2015
Free with museum admission
Join us for a concert of traditional Irish music performed by an extraordinary group of musicians, including fiddlers Liz Knowles (Riverdance; Michael Collins), Chicago’s own Liz Carroll, and others. The performance highlights music from the exhibition’s companion CD, created to illuminate and celebrate the musical influences at work in the period of 1690-1840 in Ireland, and to sponsor new musical masterpieces inspired by the themes of the exhibition. Some of the music is from the ancient harp tradition, some carefully curated from the distant past by Liz Knowles, and some specially composed by Liz Carroll. Celebrate the Ireland of centuries past, where the crossroads was a meeting place, a place of frequent and vital social interactions: village dances (céilís), political speeches, sporting standoffs, and meetings large and small. Enjoy this afternoon at the crossroads with us.
This article was first published on www.tradconnect.com