Bidding on this item has ended.
George Russell
RESTING IN THE WOOD
Lot 24
Price Realised:
€10,500
Estimate:
€7,000 - €10,000
George Russell, AE, 1867-1935
RESTING IN THE WOOD
Oil on canvas, 21" x 32" (53.2 x 81.2cm), signed with initials, inscribed verso.
George W. Russell [AE - short for Aeon signifying the lifelong quest of man] was born in Lurgan, Co. Armag...
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Lot 24
George Russell
RESTING IN THE WOOD
Lot 24
George Russell
RESTING IN THE WOOD
Estimate:
€7,000 - €10,000
George Russell, AE, 1867-1935
RESTING IN THE WOOD
Oil on canvas, 21" x 32" (53.2 x 81.2cm), signed with initials, inscribed verso.
George W. Russell [AE - short for Aeon signifying the lifelong quest of man] was born in Lurgan, Co. Armagh in 1867, and he moved with his family to Dublin in1878. He attended the Metropolitan Art School and the RHA School. George Russell was a writer, editor, poet, painter, economist and mystic. He was talented in many areas but painting was his first love; 'painting was the only thing I have any delight in doing. Nature intended me to be a painter' (Hewitt, 1977: 52). After his death writer Frank O'Connor observed, 'he might if he had devoted himself to one art only, have been amongst the very greatest figures in the world; but if he had done so, he would not have been Æ, and Ireland, and we, would have been poorer for that' (Irish Times, 22 July 1935). James White at the National Gallery of Ireland underlined that 'he must be considered as an important and interesting symbolist of the period 1890-1920' (Hewitt, 1977: 52). The Armagh County Museum has a small collection of his paintings, but one that demonstrates his 'remarkable versatility' as an artist (Hewitt, 1977: 53).
The majority of Russell's paintings were painted in Donegal as he spent his summer holidays in Marble Hill, Dunfanaghy every year and used this inspiration for his paintings completed then and throughout the year. This painting of 'The Wood' could have used the ground of Ards Forest near Dunfanaghy as stimulus. Its focus is the woodland glade itself which is aesthetically captured with dappled light penetrating the canopy at intervals. Pools of light are formed on the forest floor. There is a beautiful range of rich colours; the green of the trees which dominates, dark brown of the tree trunks and ground directly surrounding, orange, pink, violet blue; manifesting in a range of floral life on the ground. Two female figures are together to the right of the composition. One dressed in pink stands looking into the forest; she holds a basket. The other, dressed in blue, is seated and she looks towards the ground beneath her bare feet. They both wear a cap. Like many of Russell's paintings, there is the sense of a story within the scene and the figures appear to be engaged in meditative contemplation while waiting for something or someone. It is a beautiful setting for a meeting. Although the style of execution is different there are some similarities in compositional inspiration from the work of Corot (1796-1875) particularly in his work 'The Leaning Tree Trunk', where the tree sees a comparable treatment and in 'Figures in a Forest' c.1850 - c.1860, where the dramatic interplay of light and shade builds the attendant narrative of the painting.
Dr. Marianne O'Kane Boal
RESTING IN THE WOOD
Oil on canvas, 21" x 32" (53.2 x 81.2cm), signed with initials, inscribed verso.
George W. Russell [AE - short for Aeon signifying the lifelong quest of man] was born in Lurgan, Co. Armagh in 1867, and he moved with his family to Dublin in1878. He attended the Metropolitan Art School and the RHA School. George Russell was a writer, editor, poet, painter, economist and mystic. He was talented in many areas but painting was his first love; 'painting was the only thing I have any delight in doing. Nature intended me to be a painter' (Hewitt, 1977: 52). After his death writer Frank O'Connor observed, 'he might if he had devoted himself to one art only, have been amongst the very greatest figures in the world; but if he had done so, he would not have been Æ, and Ireland, and we, would have been poorer for that' (Irish Times, 22 July 1935). James White at the National Gallery of Ireland underlined that 'he must be considered as an important and interesting symbolist of the period 1890-1920' (Hewitt, 1977: 52). The Armagh County Museum has a small collection of his paintings, but one that demonstrates his 'remarkable versatility' as an artist (Hewitt, 1977: 53).
The majority of Russell's paintings were painted in Donegal as he spent his summer holidays in Marble Hill, Dunfanaghy every year and used this inspiration for his paintings completed then and throughout the year. This painting of 'The Wood' could have used the ground of Ards Forest near Dunfanaghy as stimulus. Its focus is the woodland glade itself which is aesthetically captured with dappled light penetrating the canopy at intervals. Pools of light are formed on the forest floor. There is a beautiful range of rich colours; the green of the trees which dominates, dark brown of the tree trunks and ground directly surrounding, orange, pink, violet blue; manifesting in a range of floral life on the ground. Two female figures are together to the right of the composition. One dressed in pink stands looking into the forest; she holds a basket. The other, dressed in blue, is seated and she looks towards the ground beneath her bare feet. They both wear a cap. Like many of Russell's paintings, there is the sense of a story within the scene and the figures appear to be engaged in meditative contemplation while waiting for something or someone. It is a beautiful setting for a meeting. Although the style of execution is different there are some similarities in compositional inspiration from the work of Corot (1796-1875) particularly in his work 'The Leaning Tree Trunk', where the tree sees a comparable treatment and in 'Figures in a Forest' c.1850 - c.1860, where the dramatic interplay of light and shade builds the attendant narrative of the painting.
Dr. Marianne O'Kane Boal
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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