User:Gabzfc/Mainie Jellett

Introduction Promoter and defender of modern art in her country, her artworks are present in museums in Ireland.

life She was an important participant of the Active Age project in the IMMA, which was produced to rewrite the narrative of art change the canon. Jellett whose work was not very well known outside of Ireland but a pioneer when it comes to the idea of avant-garde and being an activist for the encouragement of young Irish artists. The IMMA decides to evaluate and reexamine the European canon and bringing artists like Maine Jellett to the front line.

Death Elizabeth Bowen wrote a heartfelt obitruary which was publish in the periodical The Bell in 1944. She mentions one of their last talks and Jellett mentions the work of a genius Dorothy Richardson, who has yet to receive the recognition she deserves. Till the end showing solidarity to women and standing strong with the feminist movement.

Works in Collection
 * Ulster Musuem, Belfast, UK

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 its artistic career 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 appreciated. Likewise, Jellett's analysis of the image of the human body to find its geometric elements is observed.

1925 Four Element Composition, IMMA This work was created by Jellett four years after his stay in Paris and his foray into non-figurative art. The title of this painting works as a kind of anchor, since it helps to understand what Jellett wanted to represent, such as the crossing of cold colors, points, lines and forms where each one has its own expression. It is a work that exists independently of reality, loaded with significance of the abstract.

1932-1935 Composition Ulster Museum This work was created by Jellett in her maturity, the idea of pure abstraction is appreciated. It does not represent a figurative theme or subject, it 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, chromatic freedom is appreciated using terracotta, red, gray, blue, yellow, white and black colors.

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"Color Insert." Éire-Ireland 40, no. 2 (2005): 2005-2005. doi:10.1353/eir.2005.0014.

Dalton, Claire. Irish Women Artists 1870-1970: Summer Loan Exhibition. Dublin: Adams Auctioneers, 2014. Dublin (Ireland). Municipal Gallery of Modern Art. Mainie Jellett, 1897-1944 : a retrospective exhibition of paintings and drawings. 1962-01-01T00:00:00Z. Retrieved from the Digital Public Library of America. Accessed April 21, 2020. http://www.archive.org/details/mainiejellett18900dubl.

Frost, Stella. A Tribute to Evie Hone and Mainie Jellett. Dublin: Browne and Nolan, 1957.

Hartigan, Marianne. "The Irish Exhibition of Living Art." Irish Arts Review (1984-1987) 4, no. 4 (1987): 58-59. Accessed March 26, 2020. www.jstor.org/stable/20492035.

IMMA. Department of Culture, Heritage and the Gaeltacht. Accessed April 22, 2020. https://imma.ie/collection/?_sft_artwork_artist=mainie-jellett&sf_paged=1&obj=obj_24565.

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McGonagle, Declan. "For Them, Not Us: "Turning" the Museum in an Anxious World." Éire-Ireland 52, no. 3 (2017): 75-103. doi:10.1353/eir.2017.0023.

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