Declan J. Foley - The only art of Jack B. Yeats: letters & essays
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This book is dedicated to the memory of Susan Mary Pollexfen Yeats (18411900), that most unacknowledged and all- important person the silent and shadowy genesis to all this creativity wife, above all mother, who through her story-telling awakened the imaginative process in her gifted children, Willy and Lily and Lollie and Jack (G.K. Chestertons description). Susan Mary Yeats was buried in grave No. 13, Row E,
Section T, Acton Rural Cemetery, London, on 3 January 1900, aged fifty-eight years.
Union Place, Sligo, the site of the Pollexfen home at the time of Susans marriage to John Butler Yeats Gerry Foley 2009
Civilizations were let down from heaven in the dawn of history, and we find the laws of Moses and Manu and other primitives all whispers from heaven to earth. Then kings began to put themselves in place of heaven, and after the kings came the aristocracies, and after the aristocracies the oligarchies of the wealthy, and now there appears a place in the sun for the average man moulding his own destiny in harmony with his neighbours , and that is what the world has long awaited and been in travail to get, and if we can inspire Irishmen in this fever of the world to co-operate, to work together to save their country, we may make Ireland a country worth living in
, Notes of the Week, The Irish Homestead 19 May 1917, pp. 5889.
There is no padding in this book except the padding of the hoof. At the same time I write this Book because I want a couple of million (pounds) quickly, and as it may be the last Book written in the world it should have a very large sale. Though it may be the last Book it is quite likely that lectures will be arranged and Broadcast. They will be given entirely by the fair sex, interesting but monotonous.
About a name for this book. I was making some notes one day while travelling in a train through the boggy country in Ireland when a melodeon player opposite me asked me if I wouldnt stop writing and give out a tune and he handed the melodeon towards me. I have no ear, I said. Ah, to hell with ears, he said, I play with my body. Are you writing a book? he said. Well I am making notes for one, I said. What are you going to call it? he said. I dont know yet, I said. Call it Sligo. Its the name of a town, he said, the only in Ireland I was never in. I was near it once but I stopped on the brink and took the long car with a unicorn yoked to it for a town called Ballina. Call it Sligo, it ought to be a lucky name. So Sligo it is. When he asked me to play a tune he pronounced it Chune, a very good way too. If they give me music to my grave I will sooner they will call it a Chune to Toon: there is a want of dignity about the word Toon and I would not look forward to it.
Extract from Sligo by Jack B. Yeats (London: Wishart & Company 1930), p. 40.
First and foremost, my sincere appreciation of William M. Bill Murphy, who passed away on 26 September 2008, and Hilary Pyle. Of particular importance is Bill Murphys creation of the research facility in The Schaffer Library Special Collections at Union College, Schenectady, New York.
The late Michael B. Yeats for his encouragement and permission to use material from his grandfather and uncle. Ellen Fladger, Librarian, Special Collections of Schaffer Library, Union College, for copies of the letters of John Butler Yeats to Jack B. Yeats. Terry Tuey, Library Assistant, McPherson Library, Special Collections, University of Victoria BC , for copies of the letters of Jack B. Yeats. Thanks also to: Sarah Cash and Ila Furman, Assistant Registrar, Corcoran Gallery of Art, Washington DC ; Marie McFeely, Rights and Reproductions Officer, Picture Library, The National Gallery of Ireland, Dublin; Angela Minshull of Christies Images Ltd, London; Anna Monroe and Emma Mee of DACS , London. John Glendon of RT , Dublin , Ireland, for the interview between Jack B. Yeats and Eamonn Andrews; Eoin McVey and Madame Editor Geraldine Kennedy of The Irish Times for permission to reproduce Arnold Harveys article; Michelle Archer at Waddington Gallery, London; Dr Declan Kiely at the New York Public Library, Dr Maureen E. Mulvihill, Princeton Research Forum, Princeton NJ .
The essayists for their contribution to this publication; my brother Gerald (Gerry) Foley Jnr for his drawing; Frank Bennett Jnr for editorial advice and the Glossary of Names; Don Gillen of Sligo and Rosses Point. Amanda Ryan, the Heritage Council of Ireland, for the grant that made this work possible. My sister Marea Walsh and Mrs Anna France, London, for their proofreading and encouragement; Carole Pesner, Kraushaar Galleries, New York, for permission to reproduce Yeats at Petitpas; the owner of The Last Corinthian; Ann Saddlemyer and Cathy Fagan for their encouragement and support. My sincere appreciation of Antony Farrell at The Lilliput Press, Dublin. Lastly my wife Helen and our youngest son Gerald Foley III for their patience.
Design for a Mountain Backcloth for The Kings Threshold, 1913 (National Gallery of Ireland, Dublin), ink, pencil and watercolour on card, 24.8 x 37.5cm Estate of Jack B. Yeats, DACS 2007; Stencil Portrait of J.M. Synge, 1905 (Royal Library, Windsor Castle), indian ink on paper, 20 x 13 cm Estate of Jack B. Yeats, DACS 2007; Stencil Portrait of John Butler Yeats, 1900 (Sligo County Library and Museum), watercolour on paper, 33 x 21.5cm Estate of Jack B. Yeats, DACS 2007; The Circus Coachman, c.1903 (private collection), gouache and watercolour on paper, 71 x 54.5cm Estate of Jack B. Yeats, DACS 2007; A Stevedore, 1900 (courtesy of The Niland Collection, The Model Arts and Niland Gallery, Sligo), watercolour on paper, 11 x 8cm Estate of Jack B. Yeats/ ARS(NY) / DACS 2007; A Political Meeting, 1905 (courtesy of the Niland Collection, The Model Arts and Niland Gallery, Sligo), pencil and watercolour on paper, 21 x 29 ins (53.34 x 73.66cm) Estate of Jack B. Yeats/ ARS(NY) / DACS 2007; The Circus Dwarf, 1912 (private collection), oil on canvas, 91.5 x 61cm Estate of Jack B. Yeats/ ARS(NY) / DACS 2007; The Barrel Man, 1912 (private collection), oil on board, 35.5 x 23cm Estate of Jack B. Yeats/ ARS(NY) / DACS 2007; The Strand Races, West of Ireland, 1895 (courtesy of The Niland Collection, The Model Arts and Niland Gallery, Sligo), watercolour on paper, 11.5 x 68.5cm Estate of Jack B. Yeats/ ARS(NY) / DACS 2007, 2006; The Last Corinthian , 1910 (Christies Images Ltd, private collection), oil on canvas 15 x 11 ins (38.1 x 28 cm) Estate of Jack B. Yeats/ ARS(NY) / DACS 2007; John Sloan, Yeats at Petitpas, 1910 (courtesy of Corcoran Gallery of Art, Washington DC , Museum Purchase, Gallery Fund, Accession No. 32.9), oil on canvas, 26 3/8 x 32 ins.
BRUCE STEWART
For Declan Foley, in editing this gathering of hitherto unpublished Yeats letters artist-father to artist-son and vice-versa the aim is to introduce Jack Yeats to another generation. He is also, no less consciously, bent on staking a claim to the genius of the Yeatses on behalf of his native town. In so doing he is bringing it all home to Sligo in a constructive and engaging way, supplementing the previously unseen letters with a number of scholarly papers that provide a cultural commentary to match the texts, adding new depth to our understanding of the relationship. Compared to W.B. Yeats, Jack was relatively inexpressive but also free from the habit of mythological inflation. In balance he was probably an equal reflection of his father; more precisely, his father understood him no less well, perhaps seeing him more as a Pollexfen than a Yeats. They shared the art of painting . And, where WBY needed to be restrained (You would be a philosopher and are really a poet), Jack needed to be encouraged (Remember that all the great artists have been shameless plagiarists). The chief interest of this correspondence is the insight that it gives us of that nurturing relationship, and of the two mens very real affinity and friendship; it also deepens our understanding of JBY the father and the man through his letters to his son.
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