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Mary Harriet "Mainie" Jellett (29 April 1897, Dublin – 16 February 1944, Dublin) was an Irish painter whose Decoration (1923) was among the first abstract paintings shown in Ireland when it was exhibited at the Society of Dublin Painters Group Show in 1923. She was a strong promoter and defender of modern art in her country and her artworks are present in museums in Ireland. Her work was also part of the painting event in the art competition at the 1928 Summer Olympics.[1]

Mainie Jellett
Born
Mary Harriet Jellett

(1897-04-29)29 April 1897
Dublin, Ireland
Died16 February 1944(1944-02-16) (aged 46)
Dublin, Ireland
Resting placeSt Fintan's Cemetery, Howth
NationalityIrish
EducationMetropolitan School of Art
Alma materWestminster Technical Institute
OccupationArtist, painter

Life


Jellett was born on 29 April 1897 at 36 Fitzwilliam Square, Dublin, one of the four daughters of William Morgan Jellett, a barrister and later MP, and Janet McKenzie Stokes. William and Eva were among the seven children of John Hewitt Jellett, Provost of Trinity College Dublin. Mainie's mother was an accomplished musician, and all her daughters received a musical education. Mainie's sister Dorothea (Bay) was the conductor of the orchestra at the Gaiety Theatre, Dublin.[2][3] Her aunt was a pioneering woman doctor working in India, Eva Jellett.[4]

Jellett's art education began at a young age of 11, when she received painting lessons from Elizabeth Yeats, Sarah Cecilia Harrison and from Mary Manning who had a studio on Merrion Row, and whose influence on Irish Artists of the time was considerable.[5]

She later studied at the Metropolitan School of Art in Dublin. Her teachers included William Orpen, and his influence is apparent in her work from this period;[5][6] Despite her artistic talent, she was still undecided about her future, and at this time was taking regular piano lessons with a view to becoming a concert pianist.

Her decision to become a painter was made after working under Walter Sickert at the Westminster Technical Institute in London, where she enrolled in 1917 and remained until 1919.[5] She showed precocious talent as an artist in the impressionist style. In 1920, she won the Taylor Art Scholarship worth £50. The same year she submitted work to the annual exhibition of the Royal Hibernian Academy.[5]

Mainie Jellett, Abstract Composition, 1935, oil on canvas, 119.5 x 96.9 cm
Mainie Jellett, Abstract Composition, 1935, oil on canvas, 119.5 x 96.9 cm

In 1921, along with her companion Evie Hone, she moved to Paris, where, working under André Lhote and Albert Gleizes she encountered cubism and began an exploration of abstract art. Her new style, including colour and rhythm was greatly inspired by her stay in France. After 1921 she and Evie Hone returned to Dublin but for the next decade they continued to spend part of each year in Paris.

In a 1943 essay entitled 'Definition of my Art' Jellett describes her art as having three revolutions inspired by her teachers; the first credited to Walter Sickert, the second to André Lhote and the third to Albert Gleizes.[7]

Achill Horses by Mainie Jellett, 1938
Achill Horses by Mainie Jellett, 1938

In 1923, she exhibited two cubist paintings at the Dublin Painters' Exhibition. The response was hostile, with the Irish Times publishing a photograph of one of the paintings and quoting their art critic as saying of them 'to me they presented an insoluble puzzle'.[8] The following year, she and Evie Hone had their first joint exhibition.

A deeply committed Christian, her paintings, though never strictly representational and sometimes completely non-objective, occasionally have religious titles and may in some respects resemble icons in tone and even, on occasion, in palette. In Irish Art, a Concise History Bruce Arnold writes: "Many of her abstracts are built up from a central 'eye' or 'heart' in arcs of colour, held up and together by the rhythm of line and shape, and given depth and intensity - a sense of abstract perspective - by the basic understanding of light and colour"[9]

Jellett was an important figure in Irish art history, both as an early proponent of abstract art and as a champion of the modernist movement. Her painting was often attacked critically but she proved eloquent in defense of her ideas. Along with Evie Hone, Louis le Brocquy, Jack Hanlon and Norah McGuinness, Jellett co-founded the Irish Exhibition of Living Art in 1944.[10]

In her published work "An Approach To Painting" (1942)[11] Jellett stated why she felt artists were necessary in society:

Achill Horses, oil on canvas, 61 x 92 cm, 1939, National Galley of Ireland
Achill Horses, oil on canvas, 61 x 92 cm, 1939, National Galley of Ireland

"The idea of an artist being a special person, an exotic flower set apart from other people is one of the errors resulting from the industrial revolution, and the fact of artists being pushed out of their lawful position in the life and society of the present day. … Their present enforced isolation from the majority is a very serious situation and I believe it is one of the many causes which has resulted in the present chaos we live in. The art of a nation is one of the ultimate facts by which its spiritual health is judged and appraised by posterity."[11]

Her work was an important part of the Active Age project in the IMMA, which was produced to rewrite the narrative of art and change the canon. Jellett's work was not very well known outside of Ireland but she was a pioneer of a national avant-garde and strongly supported the encouragement of young Irish artists. The IMMA decided to evaluate and reexamine the European canon and bring artists like Mainie Jellett to the front line.

In 1990 Bruce Arnold produced, scripted and narrated a documentary To Make it Live-Mainie Jellett. In 1991 Arnold published a comprehensive biography of Jellett together with an analysis of the modern movement in Ireland.[12][13]


Death


Jellett died on 16 February 1944, aged 46, of pancreatic cancer.[14] Elizabeth Bowen wrote a heartfelt obituary which was published in the periodical The Bell in 1944. She mentions one of their last talks in which Jellett mentions the work of a genius, Dorothy Richardson – until the end, showing solidarity with women and the feminist movement.[15] There is a plaque commemorating her at her former place of residence and work on 24 Upper Pembroke Street, Dublin.[16]


Work in collections



Analysis of Artworks


Allegorical Scene (no date) Ulster Museum

Jellett represents a religious scene through the use of geometric elements, typical of post-impressionism. Unfortunately, this work does not have a date to determine when in her artistic career it was created, whether at the beginning or at the end of it. The focal point of the painting is Christ, placed in the center of the painting where the light is concentrated. The use of colors consistent with reality and perspective is evident. Likewise, Jellett's analysis of the image of the human body to find its geometric elements is observed.

Jellett's painting, A Composition - Sea Rhythm.
Jellett's painting, A Composition - Sea Rhythm.

Four Element Composition 1925, IMMA

This work was created by Jellett four years after her stay in Paris and her first advances into non-figurative art. The title of this painting works as a kind of anchor, since it suggests Jellett wanted to represent the crossing of cold colors, points, lines and forms, with each given its own expression. It is a work that exists independently of reality, loaded with formal significance.

Composition 1932-1935, Ulster Museum

This work was created by Jellett in her maturity. It reflects the embrace of pure abstraction. It does not represent a figurative theme or subject, but has an autonomous visual language, with its own meaning. It exists regardless of reality and of any historical, cultural or geographical burden. The painting is composed by the preponderant combination of curved lines that generates spatial shapes. Likewise, freedom from chromatic conventions is evident in a palette of terracotta, red, gray, blue, yellow, white and black.


References


  1. "Mainie Jellett". Olympedia. Retrieved 27 July 2020.
  2. "General Registrar's Office". IrishGenealogy.ie. Retrieved 20 April 2017.
  3. "Church records". IrishGenealogy.ie. Retrieved 20 April 2017.
  4. "Tercentenary Alumni Gala Celebration - Provost & President : Trinity College Dublin". www.tcd.ie. Retrieved 7 March 2019.
  5. Arnold, Bruce. Mainie Jellet 1897-1944. National Gallery of Ireland: The Neptune Gallery. pp. Biographical Information.
  6. Ferriter, Diarmaid (2009). "Jellett, Mainie". In McGuire, James; Quinn, James (eds.). Dictionary of Irish Biography. Cambridge: Cambridge University Press.
  7. Fintan., Cullen (2000). Sources in Irish art : a reader. Sterling, Va.: Cork University Press. pp. 86–87. ISBN 1859181546. OCLC 43631547.
  8. "Art Critic". The Irish Times. 23 October 1923.
  9. Arnold, Bruce (1968). Irish Art, a Concise History. Praeger. p. 174.
  10. Snoddy, Theo (2002). Dictionary of Irish artists : 20th century (2nd ed.). Dublin: Merlin. p. 288. ISBN 1903582172. OCLC 50624017.
  11. The Field Day anthology of Irish writing, Vol. V, Irish Women's Writing and Traditions. Angela Bourke, Siobhán Kilfeather, Maria Luddy, Margaret Mac Curtain, Gerardine Meaney, Mairín Ní Dhonnchadha, Mary O’Dowd and Clair Wills (eds). Lawrence Hill, Derry, Northern Ireland: Field Day Publications. 1991–2002. pp. 1085–1086. ISBN 0946755205. OCLC 24789891.{{cite book}}: CS1 maint: others (link)
  12. McGonagle, Declan (2017). "For Them, Not Us: " Turning" the Museum in an Anxious World". Éire-Ireland. 52 (3&4): 87, 88. doi:10.1353/eir.2017.0023. S2CID 201723359.
  13. Arnold, Bruce. Mainie Jellett and the Modern Movement in Ireland. Yale University Press, 1991. ISBN 0-300-05463-7.
  14. "General Registrar's Office". IrishGenealogy.ie. Retrieved 20 April 2017.
  15. Bowen, Elizabeth (1944). "Obituary of Mainie Jellett". The Bell. 9 (3): 257.
  16. "Mainie Jellett brown plaque".

Sources




Wikimedia Commons has media related to Mainie Jellett.

На других языках

[de] Mainie Jellett

Mainie Jellett, geboren als Mary Harriet Jellett, (* 29. April 1897 in Dublin; † 16. Februar 1944 ebenda) war eine irische Malerin,[1] deren Gemälde Decoration (1923) zu den ersten abstrakten Gemälden gehörte, die in Irland gezeigt wurden, als es 1923 auf der Gruppenausstellung der Society of Dublin Painters ausgestellt wurde. Sie war eine starke Förderin und Verfechterin der modernen Kunst in ihrem Land, und ihre Werke sind in mehreren irischen Museen zu sehen. Ihr Werk war auch Teil des Malereiwettbewerbs bei den Olympischen Sommerspielen 1928.[2]
- [en] Mainie Jellett

[es] Mainie Jellett

Mary Harriet "Mainie" Jellett (29 de abril de 1897, Dublín - 16 de febrero de 1944, Dublín) fue una pintora irlandesa. Su pintura titulada Decoración (1923) fue una de las primeras pinturas abstractas vistas en Irlanda cuando se exhibió en la Exposición Grupal de la Sociedad de Pintores de Dublín en 1923. Jellett fue una importante promotora y defensora del arte moderno en Irlanda y sus obras pueden ser encontradas en los museos del país. Su trabajo también formó parte del evento de pintura de la competencia de arte de los Juegos Olímpicos de Ámsterdam 1928.[1]

[fr] Mainie Jellett

Mary Harriet "Mainie" Jellett (née le 29 avril 1897 à Dublin et morte le 16 février 1944 à Dublin) est une artiste peintre irlandaise.

[ru] Джеллет, Мейни

Мэри Хэрриет Джеллет (англ. Mary Harriet Jellett / Мейни Джеллет; 20 апреля 1897 — 16 февраля 1944); ирландская художница, живописец первой половины XX века, пионер абстрактного искусства в Ирландии.


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