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Louis le Brocquy HRHA (b.1916) RECONSTRUCTED HEAD signed and dated [1967] lower left; typed exhib...

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Louis le Brocquy HRHA (b.1916) RECONSTRUCTED HEAD signed and dated [1967] lower left; typed exhib...
Louis le Brocquy HRHA (b.1916)
RECONSTRUCTED HEAD
signed and dated [1967] lower left; typed exhibition label and a Bourlet & Sons
label on reverse; opus no.183
oil on canvas
150 by 150cm., 59 by 59in.
Provenance:
Gimpel Fils, London;
Taylor Galleries, Dublin;
Private collection, Dublin;
Private collection, France
Exhibited:
‘Louis le Brocquy: Recent Paintings’, Gimpel Fils Gallery, London, 1-26 October
1968, and Gimpel & Hanover Galerie, Zurich, catalogue no.1 as Head of a Man
Reconstructed Head (1967) [Opus no.183] is a particularly haunting example of
the extensive series of images of the human head that preoccupied Louis le
Brocquy more or less exclusively from the mid-1960s to the mid-1990s, and which
has remained a characteristic subject to this day. It is large by le Brocquy’s
standards and square in format1. Isolated and centrally positioned within a
textured light grey ground, this veiled, inchoate head is rendered in delicate
flicks and smears of red, blue, white and dark grey. Ghostly and unknowable, it
is caught in that double movement of emergence from and recession into a bright,
unfathomable ground that has characterised le Brocquy’s depiction of the
isolated human being ever since the mid-1950s.
Le Brocquy’s head images were originally inspired by the chance discovery in
1964 in the Musée de l’Homme in Paris of a display of ornamental Polynesian
skulls. This followed a period of profound dissatisfaction with his work that
had led him to destroy around forty paintings of human torsos, his preferred
subject matter for much of the previous decade. That a number of the paintings
produced in the wake of this discovery are called ‘ancestral heads’ also
reflects his subsequent realisation of the importance of head imagery in the art
of the Celts throughout the ages. Anne Crookshank has noted of the earliest of
these paintings from 1964-1965 that "the heads are nearly abstract, more skull
than head, beings which lack the emotive quality of recognition". The anonymous
Reconstructed Head of 1967 retains something of this generalised, totemic
nature. It might also be compared with Reconstructed Head of Wolfe Tone from
1964, the original title of which, Head of a Martyr, suggests a concern with
human types rather than recognisable individuals. As early as 1965, however, le
Brocquy embarked on studies of specific individuals, mostly celebrated cultural
heroes such as James Joyce and Samuel Beckett. Seamus Heaney has remarked of le
Brocquy’s heads in general that they are "quotations from bodies, from lives
even. We have no sense of them orphaned from their supporting frames or times.
They take hold of the air, they probe it with a deep pure stare".
Reconstructed Head was first exhibited in Gimpel Fils Gallery in London in
October 1968 (it was titled Head of a Man in the accompanying catalogue) in a
solo exhibition that also included a number of smaller ‘reconstructed heads’ of
some of le Brocquy’s friends and contemporary creative artists, including
Patrick Heron, John Montague, Thomas Kinsella, Michael Scott and Antonio Saura.
It was subsequently sold through the Taylor Galleries to a private collector in
Dublin.
Dr Caoimhín Mac Giolla Léith
Berlin, March 2004
1 Auctioneer’s note: A second similar work of the same dimensions (59 by 59
inches) exists and is in a private collection in Dublin. Only one known work
exceeds these dimensions, and that is le Brocquy’s early masterpiece, The
Family, 1950-51 (58 by 73 inches, sold through Agnew’s for €2.75 million to
Lochlann Quinn and donated to the National Gallery of Ireland). Other works
painted on a scale approaching this include Lazarus, 1959 (69 by 47 inches,
Smurfit collection, sold through Sotheby’s, 18 May 2000, £234,000 sterling),
Reconstructed Head of James Joyce, 1967 (58.5 by 58.5 inches, Hirshhorn Museum,
Washington), and Northern Image, 1971 (57.5 by 57.5 inches, collection Per
Gimpel, London).
€100,000-€150,000 (£67,000-£100,500 sterling approx.)