You know, you can talk a lot about galleries. If you're in the mood, of course. And it doesn’t matter whether the author’s work hooked you or not, how brightly and dynamically the composition developed, how the tandem of light and color was used correctly, the pictorial action unfolded harmoniously or not, and whose school, well, just clearly seeped into the foreground, despite its explicit denial by the author . You can recall especially vivid and memorable terms, try to describe the misunderstood in simple words or describe the banality as vaguely and enthusiastically as possible. Painting will endure everything except silence and indifference.
It was not for this that the authors wrote, created, expressed themselves, ended right in the middle of the project, resurrected and finished the work in defiance of all our ideas about natural and classical drawing. So I will be eloquent, mobile, ironic and abstract. So that you don't get bored.
The Hugh Lane Gallery is a collection of various genres. Although I can’t imagine myself as a more or less savvy critic, the experience of visiting a dozen of these establishments allows me to gaze melancholy into the art space until the moment when I can joyfully exclaim to a nearby neighbor: “I know this artist”, after which he will culturally move away from me at a distance of an extended sleeper.
But let's finish with my experience and try to uncover the "secret of the golden key" - to go or not to go. The gallery positions itself as a receptacle for modernist artists. Modern artists, ranging from the Impressionists to the completely crazy ideas of artists of our century.
The collections are located on two floors. There is a cafe, a souvenir shop, an elevator, toilets - everything is like in people. Entrance is free, but it is still recommended to throw off 2 euros for a common fund.
We will start the inspection from the first floor, where the main fund is located, and continue on the second, for the sake of just a few halls. It is strictly forbidden to take pictures, otherwise I would have made a photo report with my comments here. And so you have to squeeze out a feeling of enthusiasm and splash out all the available descriptive adjectives right on innocent paper.
The first small gallery at the entrance is Harry Clarke. Here, in a dark room, his work with stained glass windows is presented. The works are very, very nice, and with such color reproduction and the right lighting, they left the best impression on me. You can't miss. Even if you have half a minute of time, you need to spend them not on the phrase “where is your toilet, I urgently”, but on contemplating the masterpieces from Clark.
Next comes the room with the works of the Impressionists. Edgar Degas, Eugene Bodin, Claude Monet, Renoir and others.
This group of romantics is already familiar to me from European collections. I am very glad that I found my favorite Dutch artist Jonakind. Only one of his paintings “Skating in Holland” was presented here, but what a work of a master. Stunning specificity, color rendition of mood. How a person manages with precise strokes is so everyday world that not every camera can handle it.
Next, a couple of rooms with portrait painters of the French school and proletarian portraits mixed with Irish rural landscapes from famous Irish masters.
We are moving from classical works to the studio of Francis Bacon, which will undoubtedly attract the attention of seeking natures, with a possibly shaken psyche and a failed point of view on the state of things. Still, I was tempted to take a furtive photograph "from under the cloak" of his studio.
As the author put it: "I can only create in this studio, only in my personal chaos. " To “create” chaos in this way is needed not only in the studio. Perhaps I am strict and critical, but it is the destiny of any author to be praised and blamed.
Personally, the pictures of a person trying to capture a human cry in paints strain me. And someone will say - "Cool! ". Francis Bacon's projects were born from the impressions he received from the emotional side of the film "Potemkin" by Sergei Einstein and the activities of Pablo Picasso. In general, the gallery is large, enjoy.
On the second floor you will be pleased with the artists of our days. From painted squares and a graphite image of a woman with a maximum of 10 strokes (William Skott, Seated Woman, 1954) - this is a must see, to impressive collages of objects and colors. There is something to see, but nothing to think about. My personal opinion.
Well, the final chord in the form of a painted dark red hairy leather sofa creates a painful impression and a picture from the movie The Silence of the Lambs. I had to visit Harry Clarke again in the final to wash off the animal numbness from meeting with a nightmarish sofa. Although natures are more unconventional and open to something new, they may find the sofa cute.
Art lovers should definitely go. Yes, and just onlookers can watch for free. Heading here and wasting precious time in a compressed program "see Dublin in 48 hours" I think is not worth it. In all other cases, I can definitely recommend.
Tuesday - Thursday from 10.00 to 18.00
Friday, Saturday from 10.00 to 17.00
Sunday from 11.00 to 17.00
the entrance is free
Charlemont House,
Parnell Square North, Dublin 1
Hughlane. ie
based on materials from my site samtyr. en
It was not for this that the authors wrote, created, expressed themselves, ended right in the middle of the project, resurrected and finished the work in defiance of all our ideas about natural and classical drawing. So I will be eloquent, mobile, ironic and abstract. So that you don't get bored.
The Hugh Lane Gallery is a collection of various genres. Although I can’t imagine myself as a more or less savvy critic, the experience of visiting a dozen of these establishments allows me to gaze melancholy into the art space until the moment when I can joyfully exclaim to a nearby neighbor: “I know this artist”, after which he will culturally move away from me at a distance of an extended sleeper.
But let's finish with my experience and try to uncover the "secret of the golden key" - to go or not to go. The gallery positions itself as a receptacle for modernist artists. Modern artists, ranging from the Impressionists to the completely crazy ideas of artists of our century.
The collections are located on two floors. There is a cafe, a souvenir shop, an elevator, toilets - everything is like in people. Entrance is free, but it is still recommended to throw off 2 euros for a common fund.
We will start the inspection from the first floor, where the main fund is located, and continue on the second, for the sake of just a few halls. It is strictly forbidden to take pictures, otherwise I would have made a photo report with my comments here. And so you have to squeeze out a feeling of enthusiasm and splash out all the available descriptive adjectives right on innocent paper.
The first small gallery at the entrance is Harry Clarke. Here, in a dark room, his work with stained glass windows is presented. The works are very, very nice, and with such color reproduction and the right lighting, they left the best impression on me. You can't miss. Even if you have half a minute of time, you need to spend them not on the phrase “where is your toilet, I urgently”, but on contemplating the masterpieces from Clark.
Next comes the room with the works of the Impressionists. Edgar Degas, Eugene Bodin, Claude Monet, Renoir and others.
This group of romantics is already familiar to me from European collections. I am very glad that I found my favorite Dutch artist Jonakind. Only one of his paintings “Skating in Holland” was presented here, but what a work of a master. Stunning specificity, color rendition of mood. How a person manages with precise strokes is so everyday world that not every camera can handle it.
Next, a couple of rooms with portrait painters of the French school and proletarian portraits mixed with Irish rural landscapes from famous Irish masters.
We are moving from classical works to the studio of Francis Bacon, which will undoubtedly attract the attention of seeking natures, with a possibly shaken psyche and a failed point of view on the state of things. Still, I was tempted to take a furtive photograph "from under the cloak" of his studio.
As the author put it: "I can only create in this studio, only in my personal chaos. " To “create” chaos in this way is needed not only in the studio. Perhaps I am strict and critical, but it is the destiny of any author to be praised and blamed.
Personally, the pictures of a person trying to capture a human cry in paints strain me. And someone will say - "Cool! ". Francis Bacon's projects were born from the impressions he received from the emotional side of the film "Potemkin" by Sergei Einstein and the activities of Pablo Picasso. In general, the gallery is large, enjoy.
On the second floor you will be pleased with the artists of our days. From painted squares and a graphite image of a woman with a maximum of 10 strokes (William Skott, Seated Woman, 1954) - this is a must see, to impressive collages of objects and colors. There is something to see, but nothing to think about. My personal opinion.
Well, the final chord in the form of a painted dark red hairy leather sofa creates a painful impression and a picture from the movie The Silence of the Lambs. I had to visit Harry Clarke again in the final to wash off the animal numbness from meeting with a nightmarish sofa. Although natures are more unconventional and open to something new, they may find the sofa cute.
Art lovers should definitely go. Yes, and just onlookers can watch for free. Heading here and wasting precious time in a compressed program "see Dublin in 48 hours" I think is not worth it. In all other cases, I can definitely recommend.
Tuesday - Thursday from 10.00 to 18.00
Friday, Saturday from 10.00 to 17.00
Sunday from 11.00 to 17.00
the entrance is free
Charlemont House,
Parnell Square North, Dublin 1
Hughlane. ie
based on materials from my site samtyr. en
Translated automatically from Russian. View original
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