Knowledge (XXG)

271:: 'An almost embarrassing candor... Here is a painter who seems to have gone back to the older tradition and to have given the most searching consideration to the composition of his painting.' Dublin, which likes authors who write with a shillelagh, understood an artist who painted with one. The Word Is Tension. By 1950, Paddy was in Paris... Nights, he went to the galleries, and there he found what he wanted to do. He liked such old French masters as the 17th century's Nicolas Poussin, the 19th century's Eugène Delacroix, such moderns as Switzerland's Alberto Giacometti and Britain's Francis Bacon. The much-admired decorative style of the Matisses is not for Paddy Swift. 'Art,' he thinks, 'is obviously capable of expressing something more closely related to life than these elegant designs.' His main idea is to suggest the tensions he finds in life. 'I believe when you bring, say, a plant into a room, everything in that room changes in relation to it. This tension — tension is the only word for it — can be painted.'" This may have been Swift's only interview. A motif of his work at this time was his bird imagery, which appear to have symbolic overtones, and may have even been a subtle form of self-portraiture. From early on he was involved with literary magazines, such as 1514:(Gandon Editions 1993) writing about Swift's Algarve tree paintings: "Here his painting, which before had been sophisticated and ‘cultured’, was stripped bare and became a paean of praise, both voluptuous and sacred, to a perennial Spring. His exaltation bursts forth in a blaze of colour — like in Soutine, but a Soutine of happiness. He is intoxicated by a joy that casts away the erudite codes of style and revelled in the tangibility of the natural world. Impatiently, Patrick Swift searches out the roots of inner essence. A conjunction of opposites, of a characteristically fiery imagination and the cool verdure of plants and trees produced a kind of ‘naturalism' — but one which is the antithesis of timid conformity and mediocrity and could only have emerged from a process of rediscovering and reshaping a lost innocence... Patrick Swift’s paintings are an act of praise and wonder." Swift in 1952 also mentions "naturalism": "He sees an inevitable swing in modern art from surrealism to naturalism, but adds at once: 'It must be a purely visual and personal naturalism without the formulae of the academics.'"(AN IRISHMAN'S DIARY — QUIDNUNC, Seamus Kelly, 1833:, 11 June 1992; "It may have been in some seedy, arty Soho pub that Edward met the Irish painter Patrick Swift... Swift’s work is currently neglected but I have little doubt that it was the biggest factor in forming Edward’s own style, and Anthony Cronin agrees with me... that he admitted the debt himself: ‘he always said that it was Swift who put him on the right road’. But exactly where they first met is impossible to say; both men are dead and Swift’s widow, Mrs Oonagh Swift, says she does not know the details of her late husband’s early life ... is certain, however, that Freud came regularly in the summer of 1951, or possibly 1952, to a studio Patrick Swift had in Hatch Street. Is it possible that Edward had met Swift as early as this, and if so, did he encounter Freud there? ... His debt to Lucian Freud has been stressed, but the debt to Patrick Swift is less known, though Edward told Harriet Cooke in an interview for The Irish Times (17 April 1978): ‘Patrick Swift was instrumental in my starting to paint; Patrick Swift and Lucian Freud, they were both people I was in sympathy with.’" — 1449: 1527:"A more rewarding approach to painting, in my opinion the only valid one, is to regard it as a deeply personal and private activity" — Swift, "By Way of Preface", from a Report to the Committee of Cultural Relations, Dept of External Affairs, on a Year spent in Italy in the study of Art & Painting, December 1955; "The Art of painting is itself an intensely personal activity. It may be labouring the obvious to say so but it is too little recognised in art journalism now that a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object. It is judged by the painter simply as a success or failure without qualification. And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of." — "The Painter in the Press", 551:, a remarkable publication which, in some respects, was light years ahead of its time ... Swift's criticism is that of the practicing artist not that of a practicing critic, and when speaking of his criticism I do not merely mean only his occasional critical essays, but his activity as co-editor of a magazine and as champion of Bacon, Freud, Auerbach, Craigie Aitchison, Nano Reid, Giacometti and David Bomberg (whose posthumous papers he edited). This is criticism in the valid, active, propagandistic sense, not merely the daily or weekly grind of reviewing all sorts and conditions of artists, good and bad, but mostly mediocre. Once again much of Swift's activity in this field was semi-underground, almost subversive, often done in the teeth of the modernist establishment of his day. His record in this field speaks for itself... I cannot think of any other Irish painter who achieved anything like what he did as a critic and editor and discoverer of talent, and very few painters in any other country either. 172:: "He was never in any doubt that painting was a re-creation of what the painter saw: in his own case at least not what the painter had seen or could imagine, but what he was actually looking at during the act of painting. A faithfulness of the sort was part of the bargain, part of his contract with his art… had nothing to do with description…What was at stake was a faithful recreation of the truth to the artist of the experience, in the painter’s case the visual experience, the artist being admittedly only one witness, one accomplice during and after the fact. Of course this faithfulness did not rule out expressionist overtones. The truth was doubtless subjective as well as objective. Swift's blues and greys were usually properties of what he was painting. They were also part of his vision of things, properties of his mind. We felt then that time could only find its full expression through an art that was frugal, ascetic, puritanical even." 1197: 1465:) in his introduction to Swift for the Rosc Catalogue 1971 (which included Swift's portrait of Kavanagh): "'He painted the trees and gardens he cherished and the people he loved; because he was, happily, not unduly concerned, a style that came naturally to him shortly became his own distinctive 'style' — his signature — as uniquely his own as the subject content. Swift's peculiar style reminds us of nobody but the artist — a telling point with a painter who has set no store on this aspect of the job. In Swift we have, then, a man with an observation that is both curious and affectionate — for his attention to details in his subject is paternal and not academic" - Rosc Catalogue, Irish Imagination, 1971; see also 1510:, John McGahern, Edited by Stanley van der Ziel, Faber & Faber, 2009). Swift wrote in his Italian Notebook (Gandon Editions 1993): "I think that I probably have a real talent for painting trees if I developed it assiduously. I want to give them great density and depth pile heaps of detail into them and yet keep the sense of presence which is the whole point. I have started the painting of the palm tree outside the window. I can go straight at it because I have wanted to paint one for so long and have looked longingly into them so often in so many places". His later work is almost exclusively "tree portraits" and rural landscapes. 434:. At the time Swift was sometimes referred to as the "poets' painter" — many of his close friends were poets and they seem to have regarded him as "their" painter. Apart from close family members, poets were almost exclusively subjects of his portraits. Regarding these London portraits Fallon says, "once again, his approach was basically humanist, not formalist... are among the finest portraits painted in Britain at this period... Yet they were seen by only a handful of people, and in some cases were even lucky to have survived." In 1962 Swift left London for an extended trip to southern Europe. 2093:), however, says that the idea of Jimmy Swift invading the poet's flat is a myth. Quinn states that Kavanagh had a typescript rejected by Macmillan's ("Macmillan's rejection had left him very downcast") and that subsequently Swift, on one of his trips to Dublin, "was invited to peruse the contents and decided that the poems should be published. He had to return to London… but persuaded Kavanagh to entrust the precious typescript to his brother, Jimmy, to have three copies professionally typed up... acting under his brothers instructions... sent one copy each to David Wright and 1721:"A motif of Swift's work at this time was his bird imagery, which appeared to him to have symbolic overtones, and may even have been a subtle form of self-portraiture. Certainly Seamus Kelly, in his 'Quidnunc' column a few days after the Waddington opening, noted that the artist himself resembled one of his own birds — beaknosed, sharp-eyed, wiry, with a kind of nervous, intense presence. The self-portrait mentioned bears this out, with its questioning, almost withdrawn look. This is the typical Irish artist-intellectual of the post-war years..." — 1590:, Cousin of Samuel. Cronin: "John was Sam’s uncle James’s son, so he and Sam were first cousins, though in terms of age they could well have been uncle and nephew. John was a composer, a pianist and a harpsichordist. Portly and dark, he was quite unlike Sam in appearance but, as an artist himself and with a knowledge of painting as well as books and music, he was closer to him in spirit than the rest of the family. In Dublin he belonged to a circle which included Brendan Behan and Patrick Swift as well as the present writer." (Anthony Cronin, 399:: "In London his style changed, not immediately, but gradually and very thoroughly. In fact, it was less a stylistic change than a transformation. From being a painter with sharp, angular lines and a thin paint surface, he became one who ‘drew with the brush’. Modelled in heavy, laden strokes, and in general, daubed and dragged the paint around until it did his bidding. Stylistically, his ‘first period’ and ‘second period’ could hardly be more different from one another, though the underlying sensibility somehow remains." 555:, it is true, was a verbose propagandist, but on the whole he was a bad critic, and somehow his propaganda almost always turns out to be some form of self-aggrandisement, whereas Swift almost always pushed the fortunes and reputations of his friends and almost never his own. Yet, you do not get, from his general stance, that his motives were simply friendship and good intentions. There is a tone of dedication throughout, as though he was serving art, and not merely artists... It is a peculiarity of his very individual 1506:(Swift drew his portrait in London in 1960) noted that he was fond of the line "those particular trees/ that caught you in their mysteries": "It was he who first told me how well Constable wrote in letters about trees, especially the plane trees, with their peeled strips of bark — ‘They soak up the polluted air' — and he quoted a favourite line, 'those particular trees/ that caught you in their mysteries’, mentioning that he preferred trees to flowers" ("The Bird Swift", 1401:, Gandon Editions, 1993; "In the world in which we all moved at that time, I used to be curious as to the detachment Paddy showed to the market place, at his indifference to the fashionable galleries where Freud and Bacon were the beckoning lights, along with Frank Auerbach; it was as if he'd taken Joyce's Stephen Daedalus to heart — that once the work is created, it is no longer anything to do with the artist, who simply stands aside and pares his nails." — 263:"Irish critics got a look at the work of a tousled young (25) man named Paddy Swift and tossed their caps in the air. Paddy's 30 canvases are as grey and gloomy as Dublin itself — harshly realistic paintings of dead birds and rabbits, frightened-looking girls and twisted potted plants. Their fascination is in the merciless, sharply etched details, as oppressive and inquiring as a back-room third degree. Dublin Understands. Wrote Critic Tony Gray in 1955:"...his ability to communicate certain truths on what one senses to be a deeply spiritual level. It is perhaps this quality in his work which links Swift with the world of poetry and poets. Apart from close family members, poets were almost exclusively subjects of his portraits; the series of poet portraits shown at IMMA are quite exceptional by any standards and must place him among the very best Irish painters of the twentieth century." — 2262:, 20 Feb 1994; "Probably no painter here since the Literary Revival has had a more central role in cultural life in the broader sense. And not only in Ireland either; Swift was a seminal figure in London too, even if the general public knew very little of him... There can be few Irishmen of his epoch, whether poets or painters or novelists, who are of such biographical interest and who touched their age at so many key points." — 1629:; "He had met Freud by 1949... My grasp of chronology is not always accurate, but certainly the acquaintance was well-developed by 1950 when we shared the ground-floor of a house in Hatch Street together. Lucian, who was staying in Ireland, used to come around in the mornings to paint, so that sometimes when I would surface around ten or eleven I would find them both at work in the studio next door." — Anthony Cronin, 1397:, Gandon Editions Biography, 1993; "And one day I found him in his underground flat in Westbourne Terrace busily taking down all his canvases (or rather hardboards, for in those days he couldn’t afford canvas) from the walls and stowing them away in a cellar. His reason was: a millionaire art fancier had rung up to say he was calling and Swift did not want him to buy, or so much as see, his work." — David Wright, 2256:, 24 Jan 1994; "A man who made his paintings talk... He may well be one of the greatest of Irish painters. When the dust has settled and the critics have had their say, the paintings will speak for themselves... His paintings hold you and address you in a language so intimate and disturbingly personal that even if you don't know much about art you are aware you have been moved at a visceral level." — 1480:(1951): "No clichés are employed to simplify his task and no tricks are superimposed to foster an illusion of originality. Academicians and abstractionists will equally deplore him, and probably for the same reasons. He has rejected the debased technique of the one and the dogmas of the other. He paints what he sees." — "Patrick Swift", by John Ryan, 570: 1435:"Though his style changed considerably over the years, his essential personality as an artist never did. He was plainly not interested in the formalist aspects of Modernism... He wanted art to have an expressive, emotive, even psychological content, though not in any literary sense."— Brian Fallon,"Patrick Swift and Irish Art" (1993), 1393:, Gandon Editions, 2001(first published: Portfolio 2 - Modern Irish Arts Review, Gandon Editions, Cork, 1993); "Lucian Freud asks me if he is going to show in the new London Waddington’s, I answer that I did not think so, that I do not think he is interested in exhibiting his paintings. We are both puzzled." — Anthony Cronin, 2117:, Antoinette Quinn, Gill & Macmillan Ltd, 2001, p. 359.) Kavanagh would often stay with Swift and his family at 9 Westbourne Terrace. Regarding their friendship, Antoinette Quinn says, "Swift believed in his genius and indulged him and... the older man... came to lean on Swift as a beloved nephew."( 1493: 1794: 1658: 339: 1448: 538:. David Wright regarding Swift promoting his own work: "Swift and Cronin... brought me to the attention of the publisher Derek Verschoyle — and this was typical of Swift, who would take immense pains to push the product of anybody whose work he believed in, yet never bothered to promote his own." 569: 559: 255: 167: 380: 1980: 1667:, Gandon Editions, 2001; "Patrick Swift had graduated from the National College of Art and immediately established himself as a significant painter with work shown at the Irish Exhibition of Living Art in 1950. In addition to painting, he had wide intellectual and literary interests." — 1603:"Freud had already shown in London and Paris when he came to Dublin in 1948 , partly on a pilgrimage to Jack B Yeats, who had just enjoyed a retrospective at the Tate; and whom Freud declared the greatest living painter… Freud seemed closest to artist Paddy Swift… In September 1951 2089:(OUP, 1988): "These poems had been posted to me by Swift, whose brother James had invaded the poet's flat in Dublin, gathered up the trampled manuscripts scattered about the floor, and had them sorted, typed, and bound. One of the carbon copies was sent to me." Antoinette Quinn ( 2176: 251:, and from 1950 to 1952 he set up his studio on Hatch Street. Lucian Freud would share Swift's studio when he visited Dublin. He first exhibited professionally in group shows at the Irish Exhibition of Living Art in 1950 & 51 where his work was singled out by critics. 2007:, which was launched in London in 1959 and ran until 1961. Not much of a run, perhaps, but it had a remarkably distinguished list of contributors, including Beckett and Giacometti ..." — "The fall and rise of Patrick Swift", Brian Fallon, The Irish Times, 11 June 1992 143:, which revived a dying industry. During his lifetime Swift had only two solo exhibitions. His first exhibition at the Waddington Gallery, Dublin, in 1952 was well acclaimed. For Swift, however, his art seems to have been a personal and private matter. In 1993 the 1570:"In the late forties and early fifties, there was a house in Lower Baggot Street, where rooms could be rented by the day or night for lectures, meetings, or for any other lawful purpose. Patrick Swift, the artist, had a flat in this house." — 2101:, Gill & Macmillan Ltd, 2001, pp. 350-351). Wright's version of events is, no doubt, the story put out by Swift himself, and one which would not have displeased Kavanagh. Swift was also instrumental in the publication of Kavanagh's 2293:) The BBC art expert, Stephen Somerville, was highly praising of his work, saying simply of a London tree painting: "I love it". The father of the lady who brought Swift's work to the ARS seems to have been a sort of patron of Swift’s. 466: 510:", noting that he "was of course responsible for the art side of the magazine ... nor was he any less active on the literary side of the magazine. Here Swift and I worked in perfect harmony." Aside from his involvement with 1981: 1926:; "In London Swift, almost inevitably, moved into the Soho bohemia which included Francis Bacon, Lucian Freud, George Barker, W.S. Graham, John Minton, William Crozier" — "The fall and rise of Patrick Swift", Brian Fallon, 2244:, 28 November 1993; "His exhibition at the Royal Hospital quite simply bowled me over, and I realised at once that I was looking at pictures by probably the most formidable Irish artist of this century — perhaps including 1125: 637:, Gandon Editions (2001); contributions by Fernando de Azvedo (painter and President of Sociedade de Bellas Artes, Lisbon), Peter Murray (Director Crawford Gallery, Cork) and Brian Fallon's "Patrick Swift and Irish art". 1622: 1322:"By Way of Preface" (taken from "A Report to the Committee of Cultural Relations, Dept of External Affairs, on a Year spent in Italy in the study of Art & Painting, December 1955"), Gandon Editions Biography, 1993 879: 1783: 2105:(1964). Martin Green (who put together the collection for MacGibbon and Kee in 1964): "It was following the suggestion of the painter Patrick Swift and the poet Anthony Cronin that the publication came about."( 1557:"He was largely self taught (although, in any case, the kind of art teaching which Dublin offered at the time would merely have frustrated or enraged him)" — Brian Fallon, "Patrick Swift and Irish Art" (1993), 833:(On his Sixtieth Birthday), John Heath-Stubbs & Martin Green, -eds, Martin Brian & O'Keefe Ltd (1973); includes Swift's portrait of Barker and Swift's essay on Barker, "Prolegomenon to George Barker". 1990:"He moved to London, a melting pot of cultural and artistic ideas. At home in 'the Bohemian jungle of Soho', he partook of artistic and, always, literary life." — Aidan Dunne, "The lost hope of Irish art", 1131: 1389:"Throughout his years in London, when he was right at the nerve centre of its art and literary life, he showed little interest in exhibiting his work." — Brian Fallon, "Patrick Swift and Irish Art", 462: 2403: 2051:: "Swift, in fact, made a decided impact on Kavanagh. It is hard to believe now that it was mainly a cultural impact and that he actually changed the older man's entire approach to poetry." ( 1535:, November 1959), believing that "the mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored."("Nano Reid", Envoy, March 1950) 175: 2408: 754:, Maureen Charlton & John Stafford, Blackrock: Ardmore Records (1984); illustrated with 6 coloured plates by Irish artists incl. Walter Osborne, Patrick Swift & R.B. Beechey. 1829:, 28 November 1993; "McGuire’s starting point as an artist was Swift’s work, a fact which he himself repeatedly acknowledged" — Brian Fallon, "The fall and rise of Patrick Swift", 574:(Irish state transport authority) collection and recently toured as part of the "CIE: Art On The Move" exhibitions to much acclaim. Two pictures from IMMA's permanent collection, 2225: 491: 1619: 1422:"He was a representational artist through and through, in the Kokoschka mould. Fidelity to visual experience above all." — Aidan Dunne, "The lost hope of Irish art", The 2221:, Veronica O'Mara (ed.), Gandon Editions, Kinsale, 1993. In 1984 Swift's widow, Oonagh, organized a gathering of his friends in the Algarve where it was decided that 1575: 1221: 560: 1708: 1137: 381: 2398: 1682: 1170: 2276:, Dorothy Walker, The Lilliput Press, 1997, p. 43; "Certainly, from now onwards, no one can write Patrick Swift out of Irish art history." — Brian Fallon, 2121:, p: 297) Kavanagh would often stay with Swift and his family at 9 Westbourne Terrace: "In London he generally stayed with the Swifts" (Antoinette Quinn, 2358: 2418: 267:: Swift 'unearths not a story, nor a decorative pattern, nor even a mood, but some sort of tension which is a property of their existence.' Said the 2423: 2388: 1895:, Gill & Macmillan, 2001; "On many occasions through the early Sixties, writers and painters such as David Gascoyne, Paddy Kavanagh, Roberts 315:. Following the Waddington exhibition Swift moved to London in November 1952, using it as his base, with occasional trips to Dublin and stays in 450: 2413: 2353: 1795: 1469: 2003:"From early on Swift was associated with literary magazines, wrote for them and even co-edited — with David Wright — the literary periodical 1531:, October 1960. It could be added that Swift did not subscribe to the "idea of progress in the arts" (“Official Art and the Modern Painter”, 1462: 921: 782: 284: 121: 240: 2373: 2343: 1544:"...an atmosphere of heightened realism which… is intensely personal and strangely disturbing." — G.H.G. (usual signature for Tony Gray), 2428: 1409:, Gandon Editions, 1993; "Many people assumed he had stopped painting altogether" — Brian Fallon, "The fall and rise of Patrick Swift", 2272:, 2 Dec 1993; "The Irish public was astonished when a major Swift exhibition was mounted in the Irish Museum of Modern Art in 1994." — 1202: 1166: 1083: 232: 228: 1891: 1882: 1181: 869: 844: 728: 642: 629: 612: 599: 349: 324: 852:, IMMA, Irish artists and writers — the development of modern Ireland through its arts in the period from the 1900s to 1970s (2011) 475:(Danish-born journalist and editor who founded the Portuguese publishing house, Publicações Dom Quixote). Swift is buried in the 451: 140: 2185:… which I recommended for publication but was overruled ... It was he who brought to my attention the Charles Sisson version of 1340: 2073:, Gill & Macmillan, 2001): "Publication there was to prove a turning point … The publication of his next volume of verse, 1244: 1317: 2363: 2299: 2055:, Gandon Editions, 1993) Swift was responsible for Kavanagh having 19 poems published in the London-based literary magazine, 1821: 993: 1323: 2383: 1143: 1586: 2348: 1073:, 1968; 1971 ROSC exhibition, The Irish Imagination; in 2005 it toured as part of the "CIE: Art On The Move" exhibitions 454:. He designed the building that houses Porches Pottery, along with several other buildings. He exhibited: drawings for 2378: 1738:"From early on Swift was associated with literary magazines..." — Brian Fallon, "The fall and rise of Patrick Swift", 1121: 1033: 1796: 468: 2393: 2057: 1752: 1350: 283:, who painted Swift's portrait in 1950). He formed part of the group of artists and writers who were involved with 144: 1096: 369: 2106: 1686: 2368: 2290: 2258: 1871: 386: 365: 357: 341: 312: 2209:, Gandon Editions, 2001 (First published: Portfolio 2 - Modern Irish Arts Review, Gandon Editions, Cork, 1993) 1076: 1009: 459: 2155:. The novel was never published. After his visit to London McGahern decided to re-worked it into two novels: 1634: 1070: 476: 75: 471:(who commissioned Swift to paint his portrait when he was elected Prime Minister in 1980) and his partner, 2308: 2234:"The lost hope of Irish art ... belated recognition for Patrick Swift, a painter born out of his time." — 1193: 989: 809:, Anthony Cronin, Dolmen Press, Dublin (1976); includes a portrait of Anthony Cronin by Swift on the cover 736:, translated into modern English prose by David Wright (London, Harris, 1964); endpapers by Patrick Swift. 361: 2263: 2202: 2173: 2094: 1939: 1722: 1660: 1402: 1226: 898:; Fourteen Letters (to David Wright), C.H. Sisson, PN Review 39, Volume 11 Number 1, July - August 1984. 541: 396: 164: 1289: 1077: 502:, for which he contributed articles under the pseudonym "James Mahon" (Swift's mother was a Mahon from 139:. In Portugal he continued painting while also writing and illustrating books on Portugal and founding 1914:"Christopher Barker on his parents, George Barker and Elizabeth Smart| Books | The Observer" 2338: 2333: 2249: 1859: 531: 415: 403: 2189:, which I subsequently published … It was he who helped to find a publisher for Brian Higgins ..." ( 1607: 1633:, 1993 IMMA Retrospective Catalogue. Freud's visits in the fifties coincided with his courtship of 1574:, Interviews and Recollections, Volume 1, E. H. Mikhail (editor), Gill and Macmillan (1982), p. 41 1466: 1102: 556: 535: 514: 492: 423: 411: 353: 328: 272: 252: 129: 2318: 791:, John McGahern, Essays, Edited by Stanley van der Ziel, Faber and Faber (2009); "The Bird Swift". 2222: 2048: 1907:, our family home at that time. They came for editorial discussions about their poetry magazine, 1847: 1808:"A Patrick Swift portrait (possibly Beckett)" — "Irish art market springs to life", Niall Falon, 1702: 1458: 296: 244: 2061:, in 1956, which proved to be the turning point in Kavanagh's career; his next volume of verse, 1913: 304: 124: 2245: 1153: 1089: 1019: 967: 865: 840: 778: 724: 638: 625: 608: 595: 447: 419: 1900: 1855: 1369: 708: 704: 515: 407: 382: 345: 288: 224: 659: 2268: 1896: 1626: 1587: 1511: 1473: 1159: 443: 268: 264: 257: 742:, Platt, Eugene Robert, Ed., Commedia Publishing Co., Dublin (1973); portrait of Kavanagh 1206: 899: 896: 2240: 1373: 1262:, vol. I, No. 3, June 1960; also published in John Heath-Stubbs and Martin Green (eds) 503: 431: 308: 292: 169: 156: 86: 1185: 748:, Anthony Cronin, Dolmen Press, Dublin (1976); portrait of Anthony Cronin on the cover 620:, Irish Museum of Modern Art Retrospective Catalogue(1993); Anthony Cronin (poet) and 2327: 2178: 1851: 1638: 1503: 1377: 1213: 1177: 906:, ed. Hugh McFadden, Dedalus Press, Dublin ( 2008); "Second Letter: To Patrick Swift" 895:: Patrick Swift Obituary, PN Review 34, Volume 10 Number 2, November - December 1983 713: 552: 519: 248: 1058:, a painting from his first group exhibition, Irish Exhibition of Living Art, 1950; 1776: 1604: 970:, 8 South Anne Street, Dublin (1952); copy held at the National Library of Ireland. 892: 527: 496: 472: 427: 236: 231: 184: 133: 1642: 934:'AN IRISHMAN'S DIARY' - QUIDNUNC (Seamus Kelly), The Irish Times, 11 October 1952 582:, were exhibited in "The Moderns" exhibition (IMMA, October 2010-February 2011). 2235: 1822: 621: 300: 279:, contributing the occasional critical piece on art and artists he admired (e.g. 200: 196: 188: 160: 2163:(1965). See Young John McGahern: Becoming a Novelist, Denis Sampson (OUP, 2012) 2134: 1904: 206: 1494: 1294:"Official Art & The Modern Painter" (under the pseudonym "James Mahon"), 1790: 1301:"Mob Morals and the Art of loving Art" (under the pseudonym "James Mahon"), 1002: 280: 210: 180: 97: 1957: 176: 2151:, Vol. II, No. I ( March 1961). An extract from McGahern’s first novel, 656:, Numbers 1–4, November 1959-October 1960, Barrie & Rockliff (1961) 506:). Wright declared Swift to be "the true begetter and leading light of 179:, "tree portraits" (trees held a special fascination for Swift), rural 109: 63: 2248:... Some of the strongest contemporary portraits I have ever seen." — 108:(1927–1983) was an Irish painter who worked in Dublin, London and the 2312: 1956: 316: 44: 1797: 1066: 571: 479: 1255:"David Wright", PN Review 14, Volume 6 Number 6, July - August 1980 1641: 320: 2081:, and his Collected Poems (1964)". David Wright (then editor of 1280:"The Painter in the Press" (under the pseudonym "James Mahon"), 1149: 1040: 183: 125: 1266: 889: 389: 247:, in the summer of 1950. In the late 1940s he had a studio on 192: 1788: 1232: 937:'Art: Life with a Shillelagh', Time Magazine, 20 October 1952 1062: 839:, Carcanet Press Ltd (1 July 1988); "Images for a Painter". 650:, Theo Snoddy, Merlin Publishing, Dublin (2002), p. 640 607:, selected by David Wright, Oxford University Press (1988). 360:. During his residency at Digswell he painted many views of 979:, Irish Museum of Modern Art Retrospective Catalogue (1993) 884: 239:), freelanced in London in the late 1940s and attended the 2319: 973: 594:, Veronica O'Mara (ed.), Gandon Editions, Kinsale (1993). 352:. October 1958 – October 1959 he held a fellowship at the 1615:." — "Lucian Freud: Prophet of Discomfort", Mic Moroney, 168: 1005: 1012: 340: 2077:, was to be directly linked to the mini-collection in 2065:, was to be directly linked to the mini-collection in 1903: 1235: 307:. During this period he also got to know the likes of 1766:, Julia O'Faolain, Faber and Faber (2012), pp.128-130 1111: 683:, Randolph Cary, Barrie & Rockliff, London (1973) 1967: 940:"The Fall and Rise of Patrick Swift", Brian Fallon, 874:"Lucian Freud: Prophet of Discomfort", Mic Moroney, 93: 81: 71: 52: 30: 23: 1611:, painted on the same red velvet chair as Swift’s 999:1994 Patrick Swift 1927–83, Ulster Museum, Belfast 1751:"Nano Reid", by Patrick Swift, Envoy, March 1950; 1659:his mark, even before Waddington took him up." — 1036:(Dec 2013 - Feb 2014), Portrait of Anthony Cronin 992:2002 An Irish Painter in Portugal Retrospective, 777:, Denis Sampson, Oxford University Press (2012). 2409:Alumni of the National College of Art and Design 912:, Carcanet Press Ltd (1998); "For Patrick Swift" 862:Crystal Clear: The Selected Prose of John Jordan 815:, CH Sission, Carcanet Press, Manchester (1989). 947:"The lost hope of Irish art", Aidan Dunne, The 864:, ed. by Hugh McFadden, Lilliput Press (2006). 765:, Antoinette Quinn, Gill & Macmillan (2003) 546: 364:and its Springs, one of which was presented by 344:offer to share Winstone Cottage (then owned by 1671:, Denis Sampson, Oxford University Press, 2012 1192:National Self-Portrait Collection of Ireland, 821:, David Gascoyne (ed.) (Paladin, London, 1992) 803:, John Ryan, Gill and Macmillan, Dublin (1975) 2404:Alumni of the Académie de la Grande Chaumière 2047:Swift believed in Kavanagh and promoted him. 1088:"Drawings, watercolours, gouache, ceramics", 954:"The legacy of Patrick Swift", Brian Fallon, 8: 2289:Rotherham Roadshow, Sunday 3 October 2004 ( 827:, Rosemary Sullivan (Flamingo, London, 1992) 2207:Patrick Swift: an Irish Painter in Portugal 1969:Patrick Swift: an Irish Painter in Portugal 1944:Patrick Swift: An Irish Painter in Portugal 1727:Patrick Swift: An Irish Painter in Portugal 1707:: CS1 maint: numeric names: authors list ( 1665:Patrick Swift: An Irish Painter in Portugal 1559:Patrick Swift: An Irish Painter in Portugal 1437:Patrick Swift: An Irish Painter in Portugal 1391:Patrick Swift: An Irish Painter in Portugal 858:, Dorothy Walker, The Lilliput Press (1997) 797:, Brian Fallon, Irish Academic Press (1991) 769:The Chameleon Poet: A Life of George Barker 1837:, Brian Fallon, Irish Academic Press, 1991 385:. 1959-62 he lived in Westbourne Terrace ( 20: 395:In London his work grew more expressive. 335:Italy, Oakridge & Digswell Arts Trust 2205:, "Patrick Swift and Irish Art" (1993), 2136:Young John McGahern: Becoming a Novelist 1942:, "Patrick Swift And Irish Art" (1993), 1725:, "Patrick Swift and Irish Art" (1993), 1681:Monday, 20 Oct. 1952 (20 October 1952). 1669:Young John McGahern: Becoming a Novelist 1663:, "Patrick Swift and Irish Art" (1993), 775:Young John McGahern: Becoming a Novelist 98:http://painterpatrickswift.blogspot.com/ 1361: 1269:"The Bomberg Papers", edited by Swift, 1196:: Self-Portrait, c. 1950, ink on paper 831:Selected Poems, Homage to George Barker 667:(Barrie & Rockliff, London, 1968); 663:(Barrie & Rockliff, London, 1965); 2219:Patrick Swift 1927-83 - PS...of course 1700: 1347:Envoy – A Review of Literature and Art 1337:Envoy - A Review of Literature and Art 825:By Heart - The Life of Elizabeth Smart 819:The Collected Poems of Elizabeth Smart 592:Patrick Swift 1927-83 - PS...of course 147:held a retrospective of Swift's work. 2028: 2026: 1482:Envoy: A Review of Literature and Art 771:, Robert Fraser, Jonathan Cape (2001) 671:(Barrie & Rockliff, London, 1971) 442:Swift's travels led him to the small 356:, for a period sharing a studio with 7: 2309:2 artworks by or after Patrick Swift 2147:"The End or the Beginning of Love", 1127:Portrait of the Poet, Anthony Cronin 723:, Annie Sise, Readers Union (1976). 2399:People educated at Synge Street CBS 2035:Ps…of Course, Patrick Swift 1927-83 1203:Warrington Museum & Art Gallery 1084:Warrington Museum & Art Gallery 402:London portraits include the poets 1916:. London: Guardian. 20 August 2006 1592:Samuel Beckett: The Last Modernist 1167:National Portrait Gallery (London) 1051:- from IMMA's permanent collection 966:Paintings by Patrick Swift at the 927:"Young artist of promise", G.H.G, 14: 2359:20th-century Irish travel writers 2266:, "The legacy of Patrick Swift", 1467:Adams auctioneers catalogue notes 1328:"Painting – The RHA Exhibition", 1258:"Prolegomenon to George Barker", 1182:National Museums Northern Ireland 1092:, Dublin, 1954; five watercolours 1018:1952 Paintings by Patrick Swift, 2419:20th-century non-fiction writers 2238:, "The lost hope of Irish art", 2153:The End or the Beginning of Love 1825:, "The lost hope of Irish art", 452:Porches Pottery (Olaria Algarve) 348:), which contained a studio, in 120:In Dublin he formed part of the 2424:20th-century Irish male artists 2020:(Oxford University Press, 1988) 2016:David Wright's Introduction to 1277:(Oxford University Press, 1988) 1155:Forget-me-Knots on a cane table 1082:(1959) and presented it to the 1054:Lunds Konsthall, Sweden, 1972; 1043:, October 2010- February 2011; 1014:Algarve: a portrait and a guide 687:Algarve: a portrait and a guide 661:Algarve: a portrait and a guide 456:Algarve: a portrait and a guide 89:, criticism, poetry, literature 2389:Irish male non-fiction writers 2075:Come Dance with Kitty Stobling 2063:Come Dance with Kitty Stobling 1858:with whom she had a daughter, 1594:, HarperCollins, 1996, p. 453) 1284:, vol. I, no.4, October 1960; 1229:, Portrait of Patrick Kavanagh 1065:Portrait of Patrick Kavanagh ( 1045:Forget-me-nots on a Cane Table 994:Crawford Municipal Art Gallery 721:My Love to the Beaks and Tails 695:Lisbon: a portrait and a guide 669:Lisbon: a portrait and a guide 576:Forget-me-nots on a Cane Table 1: 2414:Irish expatriates in Portugal 2354:20th-century British painters 2123:Patrick Kavanagh: A Biography 2119:Patrick Kavanagh: A Biography 2115:Patrick Kavanagh: A Biography 2099:Patrick Kavanagh: A Biography 2091:Patrick Kavanagh: A Biography 2071:Patrick Kavanagh: A Biography 1893:Patrick Kavanagh: A Biography 1683:"Art: Life with a Shillelagh" 1654:"Yet, while Swift may seem a 1298:, vol. I, no., November, 1959 910:Collected Poems, C.H. Sission 763:Patrick Kavanagh: A Biography 691:Minho: a portrait and a guide 665:Minho: a portrait and a guide 128:bohemia where, with the poet 2138:by Denis Sampson (OUP, 2012) 2107:Martin Green in a letter to 1775:Beckett had an extract from 1332:, vol. 17, no. 13, June 1951 1312:"Some notes on Caravaggio", 920:"Patrick Swift", John Ryan, 837:Selected Poems, David Wright 740:A Patrick Kavanagh Anthology 635:An Irish Painter in Portugal 311:(possibly one portrait) and 2374:Painters from Dublin (city) 2344:20th-century Irish painters 2181:who was first published in 1339:, Vol. 4, no. 15, Feb 1951 1305:, vol. I, no.3, June 1960; 1161:Self-Portrait in the Studio 1122:National Gallery of Ireland 1090:Victor Waddington Galleries 1034:National Gallery of Ireland 1020:Victor Waddington Galleries 968:Victor Waddington Galleries 904:Selected Poems, John Jordan 648:Dictionary of Irish Artists 287:. Dublin portraits include 132:, he founded and co-edited 2445: 2429:Writers from Dublin (city) 1273:, vol.1, no.3, June 1960; 1008:1965 Desenhos do Algarve, 886:, Robert Fraser (OUP 2012) 681:Birds of Southern Portugal 464:The Merry Wives of Windsor 145:Irish Museum of Modern Art 2085:) in his introduction to 2033:O'Mara, Veronica (1993). 1239:, oil on board; image in 1097:National Library of Wales 707:'s German translation of 370:Comberton Village College 350:Oakridge, Gloucestershire 16:Irish painter (1927–1983) 2259:The Sunday Business Post 2193:, Gandon Editions, 1993) 1107:Plants in a Potting Shed 1095:Contemporary Irish Art, 801:Remembering How We Stood 469:Francisco de Sá Carneiro 372:at its opening in 1959. 235:in 1946 & 48 (under 2037:. Dublin: Gandon Books. 1971:, Gandon Editions, 2001 1946:, Gandon Editions, 2001 1729:, Gandon Editions, 2001 1635:Lady Caroline Blackwood 1625:19 January 2012 at the 1561:, Gandon Editions, 2001 1439:, Gandon Editions, 2001 1368:A circle that included 1264:Homage to George Barker 1243:, The Kelly Collection 717:, German edition (1966) 243:in Paris, where he met 233:National College of Art 76:Igreja Matriz (Porches) 1854:; formerly married to 1850:and the Irish actress 1685:. TIME. Archived from 1194:University of Limerick 924:, vol 5/20 (July 1951) 562: 256:Waddington Galleries. 2364:British male painters 2274:Modern Art in Ireland 2191:Patrick Swift 1927-83 2053:Patrick Swift 1927-83 1940:Brian Fallon (critic) 1846:Sister of the artist 1764:Trespassers: A Memoir 1723:Brian Fallon (critic) 1661:Brian Fallon (critic) 1631:Patrick Swift 1927-83 1609:Dead Cock’s Head 1951 1484:, July 1951, vol 5/20 1407:Patrick Swift 1927-83 1399:Patrick Swift 1927-83 1395:Patrick Swift 1927-83 1335:"The Artist Speaks", 1227:Dublin Writers Museum 1218:Trees at St. Columb's 977:Patrick Swift 1927-83 856:Modern Art in Ireland 618:Patrick Swift 1927-83 2384:Painters from London 2069:. Antoinette Quinn ( 1835:Edward McGuire - RHA 1472:21 July 2011 at the 1303:X A Quarterly Review 1282:X A Quarterly Review 1049:London Self-Portrait 795:Edward McGuire - RHA 752:Martello Spring 1984 734:The Canterbury tales 580:London Self-Portrait 522:(first published in 2349:Irish male painters 2087:An Anthology from X 2018:An Anthology from X 1307:An Anthology from X 1286:An Anthology from X 1275:An Anthology from X 1241:For the Love of Art 1103:Leicester Galleries 605:An Anthology from X 354:Digswell Arts Trust 329:Digswell Arts Trust 253:The Dublin Magazine 223:He was educated at 2379:Irish illustrators 1994:, 28 November 1993 1992:The Sunday Tribune 1827:The Sunday Tribune 1518:, 11 October 1952) 1426:, 28 November 1993 1296:X Quarterly Review 1187:Positano Palm Tree 1139:Gnarled Olive Tree 1099:, Aberystwth, 1953 1060:Study (with Holly) 1056:Study (with Holly) 1010:Diário de Notícias 951:, 28 November 1993 916:Selected articles 460:Diário de Notícias 229:Christian Brothers 2394:Irish art critics 1643:artprice.com link 1637:. Photographs by 1617:Irish Arts Review 1508:Love Of The World 1250:Articles by Swift 1027:Group exhibitions 958:, 2 December 1993 876:Irish Arts Review 807:Dead as Doornails 789:Love Of The World 783:978-0-19-964177-2 746:Dead as Doornails 420:John Heath-Stubbs 342:Elizabeth Smart's 103: 102: 2436: 2294: 2287: 2281: 2232: 2226: 2216: 2210: 2200: 2194: 2170: 2164: 2145: 2139: 2132: 2126: 2045: 2039: 2038: 2030: 2021: 2014: 2008: 2001: 1995: 1988: 1982: 1978: 1972: 1965: 1959: 1953: 1947: 1937: 1931: 1925: 1923: 1921: 1889: 1883: 1880: 1874: 1869: 1863: 1856:Alexis Guedroitz 1844: 1838: 1819: 1813: 1806: 1800: 1773: 1767: 1761: 1755: 1749: 1743: 1736: 1730: 1719: 1713: 1712: 1706: 1698: 1696: 1694: 1678: 1672: 1652: 1646: 1601: 1595: 1584: 1578: 1568: 1562: 1555: 1549: 1548:, 3 October 1952 1542: 1536: 1525: 1519: 1501: 1495: 1491: 1485: 1456: 1450: 1446: 1440: 1433: 1427: 1420: 1414: 1387: 1381: 1370:Patrick Kavanagh 1366: 1172:Patrick Kavanagh 1133:Girl in a Garden 984:Solo exhibitions 931:, 3 October 1952 516:Patrick Kavanagh 408:Patrick Kavanagh 383:Eccleston Square 346:John Rothenstein 289:Patrick Kavanagh 241:Grande Chaumière 225:Synge Street CBS 165:representational 59: 40: 38: 21: 2444: 2443: 2439: 2438: 2437: 2435: 2434: 2433: 2369:Modern painters 2324: 2323: 2305: 2297: 2288: 2284: 2278:The Irish Times 2269:The Irish Times 2254:The Irish Times 2252:in a letter to 2233: 2229: 2217: 2213: 2201: 2197: 2171: 2167: 2146: 2142: 2133: 2129: 2103:Collected Poems 2046: 2042: 2032: 2031: 2024: 2015: 2011: 2002: 1998: 1989: 1985: 1979: 1975: 1966: 1962: 1954: 1950: 1938: 1934: 1928:The Irish Times 1919: 1917: 1912: 1890: 1886: 1881: 1877: 1872:Katherine Swift 1870: 1866: 1845: 1841: 1831:The Irish Times 1820: 1816: 1810:The Irish Times 1807: 1803: 1774: 1770: 1762: 1758: 1750: 1746: 1740:The Irish Times 1737: 1733: 1720: 1716: 1699: 1692: 1690: 1680: 1679: 1675: 1653: 1649: 1627:Wayback Machine 1602: 1598: 1588:John S. 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