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Norah McGuinness HRHA (1901-1980) - AUTUMN PROMENADE, 1948 [DARTRY, DUBLIN]

Currency:EUR Category:Art / General - Paintings Start Price:0.00 EUR Estimated At:15,000.00 - 20,000.00 EUR
Norah McGuinness HRHA (1901-1980) - AUTUMN PROMENADE, 1948 [DARTRY, DUBLIN]

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Auction Date:2012 Oct 01 @ 18:00 (UTC+1)
Location:Clyde Hall, Royal Dublin Society (RDS), Ballsbridge, Dublin, Dublin, ., Ireland
Norah McGuinness HRHA (1901-1980) - AUTUMN PROMENADE, 1948 [DARTRY, DUBLIN]

oil on board
signed and dated lower right; with original label on reverse
20 by 26in., 51 by 66cm.
Adam's, 28 March 2007, lot 102;
Private collection;

'Recent Paintings by Norah McGuinness', Victor Waddington Galleries, Dublin, catalogue no. 5


Contained in original hand carved Victor Waddington frame. The present scene shows what was a cloth mill in the 19th century and later became the Dartry Dye Works. The red bridge visible in the painting still exists today as do the houses on the left. The tall mill is no longer on this site.
We are grateful to John G. Lennon of the Dundrum Historical Society for this additional information.

The sheer exuberance of the colour is what first strikes one on viewing this painting by Norah McGuinness. The rich colours of autumn are feast enough but Norah adds to the mix the artificial colours emanating from the Dartry Dye Works on the River Dodder. She places the vivid manufactured colours centre stage as though the principal character of a play. Indeed, the iron bridge serves as the proscenium arch whilst the swaying trees take on the character of swishing stage-curtains. The eye is led along the river to this rainbow of colours and is the girl in white gesturing us to look at them? Like Norah herself, the girl is excited by the vibrancy and possibilities of these new methods of colour manufacture. She looks to the future whilst the darker, older sons of the church on the left, dressed in black and depending on walking-sticks, turn their backs to the future and walk away into the shadows. The right-hand side of the composition is all nature and light whilst the left is industry and darkness. Not quite Blake's 'dark Satanic mills' but a nod to the blight of industrialisation. If Norah were to visit the same location today, sixty-five years on, she would doubtless be pleased to see that nature came out the victor. In the sinuosity of the footpath and the river we see the origins of her later sensual style. The black bird-like figures presage her trademark waterbirds, so elegant and stylised. There is even a hint of her later bird's-eye view in the sweep of the footpath as it disappears into the foreground. Whilst the softness of the foliage harks back to her early romantic, even illustrative, phase, the harsher more defined blocks of colour which constitute the buildings look forward to her strong, stylised works of the 'seventies. It is this juxtaposition of the sensual with the angular, this vertical/horizontal, masculine/feminine divide which lends the work its powerful dynamic. It is a dynamism which was to characterise her future work into the 'sixties and 'seventies.

Síle Connaughton-Deeny
September 2012