Fine Arts

**

Fine Arts**

Though Ireland has produced many eminent artists (painters particularly), yet the Arts are, comparatively speaking, almost in a state of infancy in the metropolis of the kingdom. There is either a want of sufficient taste amongst the Irish gentry, or the country is too poor to afford support or existence to professions not absolutely necessary.

It cannot be urged, that neglect, on the part of government, in not patronizing the Arts, is one of the chief operating causes against their advancement, for no charter, or patronizing name, could correct the taste of the country, if it were impure, or compel the public to purchase thousands of very inferior works, for the desperate chance of what some distant period might produce.

As the Royal Academy in London was founded so late as 1768, the Irish artists need not be very loud in their complaints, or very indignant at not being incorporated until 1823, and perhaps the artists of Dublin are not quite correct in attributing such magical effects to a royal charter upon persons in their present circumstances; but this question does not properly belong to our subject. There are about 50 artists residents in Dublin, of whom not more than six or eight live by what is termed the legitimate exercise of their art. Let it not be concluded from the preceding observations, that the exertions of the Dublin Society, to rescue the arts from neglect, have been totally ineffectual, for, in their academies, many distinguished artists have received the rudiments of their education; and if the fostering hand of a great and noble institution were to protect a dawning genius, until its brilliancy became sufficient to emit a strong and permanent lustre, the ends of its establishment would be fully answered. Initial of elementary instruction is all that can be expected from the Society’s schools, which is quite sufficient for future mechanics and traders, and so far the utility of their academies is universally acknowledged.

Numerous attempts have been made to establish annual exhibition of paintings and sculpture, and previously to the year 1800, they were highly creditable to the artists of Ireland; but, since that period, they have been irregular, and the collections unpromising.

In 1764, the artists associated and erected a large and handsome edifice in William-street called the “Exhibition Room;” but the profits of the exhibitions were not sufficient to pay the interest of the debentures issued to create a building fund; and the house devolved to their agents, who had advanced considerable sums for its completion.

The next exhibition, presented to the public, was held in the House of Lords, by the permission of Lord Hardwick. Not many years after, his Grace the Duke of Richmond, then Lord Lieutenant, instituted a Society of Arts, and an exhibition was held under his patronage, in 1810, in the Dublin Society’s house, Hawkins’-street (now the New Theatre Royal), at which several works of merit appeared. Dissension amongst the artists themselves, at this period, considerably abated the warmth of public feeling towards them, and a new society was instituted, under the patronage of his present Majesty (then Prince Regent), for exhibiting the works of the Old Masters. These exhibitions also were held in the Dublin Society’s house in Hawkins’-street, but have been discontinued since the removal to Leinster House, or of Living Artists, has ever been exhibited.

In 1821, an exhibition of painting and sculpture was held in the Public Rooms attached to the Royal Arcade, in College-green, which did not prove very attractive. It may not be uninteresting to name some of the distinguished artists who incorporated themselves with their brethren in London; amongst them are Barrett, Peters, Barry, Shee, Mulready, Thompson, &c. Many of equal, and some of superior talent, never though it expedience to withdraw from their native city, viz. Hamilton, Ashford, Roberts, Comerford, to which list might with truth be added, the name of the distinguished artist, from who drawings the engravings for this work were made. **

Royal Hibernian Academy of Painting, Sculpture, and Architecture**.

• A barren charter of Incorporation was granted to the Artists of Ireland, August 5th,

1823. Erin’s unlucky genius, was incautious for a moment, when a burst of light flowed in upon the dark age of the Arts in Ireland, and has now diffused its rays so extensively and so substantially, that, in all human probability, her baneful occupation is gone for ever. The merits of watching the opportunity is due to Francis Johnston, Esq., a name already belonging to posterity, as the classic productions of his architectural genius, scattered so judiciously amidst the elegant public buildings of Dublin, sufficiently testify.

By the creation of an academy, at his own private expense, Mr. Johnston has raised for himself a monument such as the pride of kings could not confer, and has left to posterity a name to be cherished and revered while the Arts shall have an existence in the land. The Academy consists of a patron (the King), vice patron (the Lord Lieutenant), president (F. Johnston, Esq.), ten academicians, and eight associates, from amongst whom, upon vacancies, future academicians are to be chosen.

The building is erected on a plot of ground in Abbey-street, the fee of which has been purchased by the munificent founder of the Academy; and it is after a design by himself. The elevation consists of three stories: in the basement there is a loggia or recess, ornamented by two fluted columns, of the Doric order, supporting the first story; over the entrance is a head of Palladio, representing Architecture; over the window on the right, one of Michael Angelo, representing Sculpture, and on the left, of Raphael, emblematic of Painting. These are by J. Smyth, Esq., an associate.

Passing through an entrance-hall, and ascending a broad flight of steps, the first exhibition room (40 feet by 20), and intended for water-colour drawings) is entered: this communicates by a large arch-way with the great saloon, for the exhibition of oil paintings, 50 feet by 40, lighted by a lantern whose sashes are inclined to the horizon at an angle of 45 degrees, whereby the light is diffused over that part of the wall only on which the paintings are to be suspended, and the spectator is left completely in the shade.

A very ingeniously contrived Octagonal staircase leads to the council-room, keeper’s-apartment, &c., which are all in the front building.

The first stone of this edifice was laid on the 29th of April, 1824, by F. Johnstone, Esq.: and one a copper plate, which was firmly bedded in the stone, was the following inscription:- “Anno Dom. M.DCCC.XXIV. His Most Gracious Majesty, George the Fourth, King of the United Kingdoms of Great Britain and Ireland, Defender of the Faith, &c., having by his Royal Letter Patent, bearing date the 5th August, 1823, incorporated the Artists of Ireland, under the name of ‘The Royal Hibernian Academy of Painting, Sculpture, and Architecture,’ Francis Johnstone, Esq., Architect, one of the members of that body, munificently founded this building for their use, to form a National School of Art: and laid this, the first stone, April 29th, 1824, the day appointed for the celebration of his Majesty’s birth, in the presence of the Academy.” Then follows the names of the original members - Messrs. Carolan were the builders.

Wright Index Home.