Beschreibung:

Artist: Sir Thomas Alfred Jones (c.1823-1893) Title: Woman Knitting Signature: signed with monogram centre left Medium: oil on board Size: 43½ x 33cm (17.1 x 13in) Framed Size: 58 x 48cm (22.8 x 18.9in) Provenance: Gorry Gallery, Dublin; Private Collection a#morebtn { color: #de1d01; } a#morebtn:hover { cursor: pointer;} The exhibition, at the Gorry Gallery in 2016, of Connemara Girls by Sir Thomas Alfred Jones marked the re-discovery of this almost forgotten painter of Irish life and people in the nineteenth century. Acquired by the Quinnipiac Great Hunger Museum, ... Read more The exhibition, at the Gorry Gallery in 2016, of Connemara Girls by Sir Thomas Alfred Jones marked the re-discovery of this almost forgotten painter of Irish life and people in the nineteenth century. Acquired by the Quinnipiac Great Hunger Museum, Connemara Girls was subsequently one of the highlights of the touring exhibition "Coming Home", shown at Dublin Castle and the West Cork Arts Centre in 2018. Another painting by Jones, also of an Irish 'colleen', Molly Macree, has long been a popular favourite in the National Gallery of Ireland. An eminently Victorian artist, Jones's own life story is like something from a novel by Charles Dickens Abandoned as a child, he was raised in Dublin by foster parents, the philanthropist Mr. Archdale and his sisters. In 1833, showing talent as an artist, he was enrolled at the Dublin Society's Drawing Schools, and nine years later became a student at Trinity College, although he left without obtaining a degree. In 1841, Jones exhibited for the first time at the Royal Hibernian Academy, before setting off to continue his artistic studies on the Continent. The portrait Thomas-Alfred Jones painted in 1851 by Pierre Puvis de Chevannes (Musee d'Orsay), may well be of the Irish artist during his time in France. Jones returned to Ireland after several years, setting up as a portrait painter. He exhibited regularly at the RHA, was elected an Associate in 1860, and nine years later succeeded Stephen Catterson Smith as President. In many of his paintings, Jones set out to create an idealised picture of how rural life in Ireland might be. He delighted in depicting country girls, bare-foot and wrapped in shawls, but healthy and rosy-cheeked. If the realities of life in rural Ireland failed to reach this ideal, this escaped his notice; his depictions of people were intended to be heart-warming and reassuring. In this painting, Jones celebrates the qualities of a woman who, though of advancing years, is still busy knitting, and doing her best to improve life for herself and her family. Her face, though lined with age, is handsome and resolute. She is outdoors, enjoying the good weather, although well wrapped up with shawls and a bonnet. Behind her is the neat white-washed wall of a cottage. Many of Jones's portraits are of 'colleens', or young girls, but this painting confirms that his interest was in depicting countrywomen of all ages, in a sympathetic and unsentimental way. Although attractive and popular, these scenes of country life were not Jones's main output as an artist. He was more at home as a society painter, depicting professional, social and political leaders. Among his commissions was a large series of portraits of the Lords Mayors of Belfast, among them William Ewart, James Haslett, Edward Coey, John Lytle, John Preston and others. His portrait of Queen Victoria is also in Belfast City Hall, while his portrait of James Hamilton is in the offices of Belfast Harbour Commissioners. Jones's sitters in Dublin included members of the Guinness family, surgeons, musicians, politicians and generals. In 1875 he painted portraits of the Earl and Countess of Bantry, while his portrait of Charles Stuart Parnell can be seen in the Oak Room of the Mansion House, Dublin. Peter Murray, October 2018