Championing Irish Art: The Mary and Alan Hobart Collection exhibition begins at the moment of the First World War, with images that record wartime experiences as well as portraits of the ‘everyman soldier’, alongside moments of rebellion and resistance. It places Irish artists such as Mary Swanzy in dialogue with Jack B. Yeats, considering how their individual and idiosyncratic interpretations of modernism pose productive questions. It moves through the hard-edged abstractions of the 1960s and ‘70s in the work of Micheal Farrell, Cecil King, and Charles Tyrrell; before ending with works made in response to the conflict in Northern Ireland by William Crozier, Rita Duffy, and F.E. McWilliam.
This exhibition is drawn from the personal holdings of the Hobarts and very much reflects their tastes and beliefs. Mary had grown up in one of the border counties and was aware of sectarian tensions from a young age. Similarly, Alan was raised in the shadow of the Second World War. Consequently, both developed strong anti-war positions and the works they personally collected illustrate such political subject matter – a key example being the series of First World War paintings by William Orpen that unflinchingly depict wartime life. The responses to exhibiting Irish art in the 1980s were mixed. It is now difficult to recapture the atmosphere in London in the aftermath of IRA bombings in the UK, and the Maze Hunger Strikes which saw a profoundly anti-Irish sentiment whipped up by the popular press. To promote Irish art at the time was, to say the least, counter-cyclical – as Alan and Mary put it with some understatement ‘we met with an element of hostility’.
For almost half a century Mary and Alan Hobart acted as influential taste-formers and deal-makers advising public and private collectors and exhibiting and trading in Irish art. In line with current international interest in the role of the dealers and galleries in how art is created, curated and collected, this exhibition explores the Pyms Gallery’s crucial role in the development of an interest in, and market for, Irish art.
The exhibition will be accompanied by a fully illustrated publication with newly commissioned research by William Laffan, art historian, editor and curator, and an afterword by Kenneth McConkey, author and Professor of Art History at the University of Northumbria.