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Harry Clarke is best known for his religious stained-glass windows. In his short life, he also produced secular stained glass, book illustrations and graphic design. Now a new book, Harry Clarke and Artistic Visions of the New Irish State, takes a closer look at some of his key works and uncovers the complex and at times problematic relationship between the artist and the new Irish state.
'Dark Beauty' , the final masterpiece of Harry Clarke. A blog post about ‘the loveliest thing ever made by an Irishman’, the controversial Geneva Window .
'Dark Beauty' , the final masterpiece of Harry Clarke. A blog post about ‘the loveliest thing ever made by an Irishman’, the controversial Geneva Window .
It was June 1925 when representatives of the Irish Department of Industry and Commerce approached Harry Clarke with the idea of designing a...
Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration. The son of a craftsman (Joshua Clarke), Harry Clarke was exposed to art (and in particular Art Nouveau) at an early age. He went to school at Belvedere College, and by his late teens was studying stained glass at the Dublin Art School. While there, his The Consecration of St Mel, Bishop of Longford, by St Patrick won the gold medal for stained glass work in the 1910 Board of Education National Competition. After completing his education, Clarke moved to London to seek work as an artist. He won commissions to work on illustrations for new editions of Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and Alexander Pope’s “The Rape of the Lock,” but completed neither of them. As it turned out, his first completed work was illustrating Hans Christian Andersen’s Fairy Tales (1916). Clarke’s next endeavour was a series of illustrations for an edition of Edgar Allan Poe’s “ Tales of Mystery and Imagination” (1916). This work sealed his reputation as a skilled illustrator, and was followed by editions of “The Years at the Spring” (1920), containing twelve colour plates and more than fourteen monotone images, Charles Perrault’s “Fairy Tales of Perrault” (1922), and Goethe’s “Faust” (1927), containing eight colour plates and more than seventy monotone and duotone images. The last of these is considered his masterwork – and largely prefigures the disturbing yet colourful imagery of 1960s psychedelia. Clarke’s timing could not have been more perfect, as he was working as an illustrator just as the golden-age of gift-book illustration was taking off (in the first quarter of the twentieth century). His work can be compared to other masters of the craft such as Arthur Rackham, Kay Nielsen and Virginia Frances Sterrett. Two of his most sought-after titles include promotional booklets for Jameson Irish Whiskey: “A History of a Great House” (1924) and “Elixir of Life” (1925), which was written by Geoffrey Warren. Clarke’s final book was the “Selected Poems of Algernon by Charles Swinburne,” published in 1928. During the 1920s, he also directed much of his attention at stained glass, producing more than 130 windows. Alongside his brother Walter, Clarke took over their father’s artist studio. (Their father had died in 1921). His glass is distinguished by the finesse of its drawing, unusual in the medium, his use of rich colours (inspired by an early visit to see the stained glass of the Cathedral of Chartres, he was especially fond of deep blues), and an innovative integration of the window leading as part of the overall design (his use of heavy lines in his black and white book illustrations is probably derived from his glass techniques). Clarke’s best-known stained-glass works are the windows of the Honan Chapel in University College Cork, the windows of Bewley’s Café on Dublin’s Grafton Street, and the window illustrating John Keats’ The Eve of St. Agnes in the Hugh Lane Municipal Gallery in Dublin Clarke died of tuberculosis on 6th January 1931 (while attempting to convalesce in Switzerland). Ill health had plagued both brothers, and his younger sibling died a year previous. Influenced by both Art Nouveau and Art Deco, Clarke’s illustrations and stained glass work remain highly sought after and appreciated in the present-day. Harry created over 160 stained glass windows for religious and commercial commissions throughout Ireland and England, and as far a field as the USA and Australia. Clarke is known as Ireland's greatest ever stained glass artist. This is part 1 of a 7-part series on the works of Harry Clarke: 1913 "The Dream" from The Rape of Lock by Pope 1913 "The Silver Apples of the Moon, The Golden Apples of the Sun" The Irish Review July 1913 1913 De Profundis ( Oscar Wilde ) watercolour and gouache 57.5 x 25.7 cm 1913 Rime of the Ancient Mariner: 1913 The Rime of the Ancient Mariner 1913 The Rime of the Ancient Mariner Ah! Well a-day! What evil looks had I from old and young! Instead of the cross, the albatross around my neck was hung 1913 The Rime of the Ancient Mariner The souls did from their body fly, — they fled to bliss or woe! And every soul, it passed by me, like the whizz of my cross-bow! 1914 Hibernia calendar design for an insurance company 1914 Mephisto pencil, pen and black ink and watercolour on paper 19 x 15.9 cm 1916 Hans Andersen's Fairy Tales:
Harry Clarke posing as Jesus Christ crucified, in his studio. Illustrations for Edgar Allen Poe’s Maelstrom LA ROSA TRANSCULTURAL CHRISTIAN SYMBOLIST HISTORY 2010
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Possibly more “Gorey” than Gorey himself, Harry Clarke (1889-1931) began his art training by studying stained glass techniques.
With their intricate line and often ghoulish tone, the works of Irish artist Harry Clarke are amongst the most striking in the history of illustration and stained glass design. Kelly Sullivan explores how, unknown to many at the time, Clarke took to including his own face in many of his pictures.
Explore In Memoriam: gordonplumb's 27892 photos on Flickr!
Panel with clear, coloured and flashed glass, acided, stained and with painted details depicting the Apparition of the Sacred Heart. Designed by Harry Clarke in 1918 and made by his studio in 1940.
Sprung from the shadowed recesses of Edgar Allan Poe’s imagination, these nineteen tales of mystery and the macabre testify to the brilliance of their author’s dark genius. Included are such enduring classics as "The Tell-Tale Heart," "The Fall; of the House of Usher," "The Black Cat," "The Masque of the Red Death," and "The Cask of Amontillado." Each story is colorfully illustrated by the classic artwork of Harry Clarke, in whom Poe found one of his most sensitive and sympathetic interpreters.
The Nativity with the adoration of the three Kings and the Shepherds, St Barrahane's Church, 1918 Throughout the year when friends have be...
The church was dedicated in December 1911, built of sandstone, replacing an iron church of 1896 (freezing in winter and boiling in the summer!). It is spacious with a wide apse and two transepts which have the two large four-light windows by the studio of Harry Clarke, dating from 1945. Reordered twice, the interior is now clad in attractive marble and a west gallery allows access to a third window by the Harry Clarke Studio. South Transept: Nativity with the Magi and Shepherds. Very colourful, indeed gaudy, and brilliant in the sunshine. North Transept: The Descent from the Cross, colourful again, less gaudy, but I was unable to take a good image owing to the brightness of the light from the south clerestory, unusual for late November - I shall have to return on a damp foggy day! The western end of the south clerestory a semi-circular three-light window shows Christ before Pilate. Image: Detail
'His Rooms Soon Became Notorious Through The Charms Of The Sprightly Grissette' From 'The Murders in the Rue Morgue' 1933 'Tales Of Mystery' By Edgar Allan Poe Illustrated by Harry Clarke 'Tis true that Harry Clarke was indeed a masterful painter, but his first love was stained glass and he was the true master of his age. Harry Clarke's love of stained glass work is clearly evident here in this remarkable multicolored piece created especially for Edgar Allan Poe. Zoom in for a closer look. Holy Smokes! The details in this 1933 original lithograph are just mind-blowing! You won't believe how gorgeous this is until you hold it in your own hands! 'The Murders in the Rue Morgue' measures 8" x 10.5" overall and is in wonderful smooth condition with crisp edges, sharp corners, and just a touch of tanning. This outstanding antique lithograph print is done on glossy paper and it's mounted to heavy paper stock and is blank on the reverse. Matted and framed and displayed as a grouping, these lovely old prints are simply spectacular. (Please note that the framed examples in the last photo show how this might look when it's framed. Your print will come unframed.) Surrender Dorothy offers a non-stop jaw-dropping cornucopia of frame-worthy antique and vintage prints, drawings, sketches, plans, lithos, engravings, posters, maps, charts, and illustrations of all kinds to adorn every room in your happy home. Terrific finds to gussy up your workplace too. Our entire inventory moves in and out of here very quickly and fresh selections are added each day, Please be sure to bookmark our shop and check back to visit us often so you don't miss our latest discoveries. I'll send this to you First Class Mail by way of those nice folks at the USPS packed flat and protected in a rigid mailer. ==================================================== This is one in a series of chilling illustrations by Harry Clarke for Edgar Allan Poe. To view the rest, click here: http://www.etsy.com/shop/surrenderdorothy/search?search_query=poe+clarke ==================================================== Check out our collection of Harry Clarke's work here: http://www.etsy.com/shop/surrenderdorothy/search?search_query=clarke ********************************************************* Please View Our Shop Policies Here: http://www.etsy.com/shop/SurrenderDorothy/policy?ref=shopinfo_policies_leftnav
Some freakier leftovers from my big 50 Watts post of Early-twentieth century illustrations by Artuš Scheiner (1863 Benešov – 1938 Pragu...
One of very few windows in England designed by Harry Clarke. This dates from 1919 and represents the Virgin & Child with St Cecilia on the left and Richard Coeur de Lion on the right, and is in memory of Mildred Clare Knowles who died in 1913 (and loved music, hence St Cecilia) and of her son, Richard Knowles who was killed in action in 1918. Detail: St Cecilia.
SE aisle window, by Harry Clarke of Dublin, 1921 - Virgin and child flanked by St Elizabeth of Hungary and St Barbara : detail
In her seminal collection Touch Magic: Fantasy, Faerie & Folklore in the Literature of Chilhood, Jane Yolen discusses the "changeling life" of fairy tales as they travel from teller to teller, country to country, and century to century. Here she...
Sprung from the shadowed recesses of Edgar Allan Poe’s imagination, these nineteen tales of mystery and the macabre testify to the brilliance of their author’s dark genius. Included are such enduring classics as "The Tell-Tale Heart," "The Fall; of the House of Usher," "The Black Cat," "The Masque of the Red Death," and "The Cask of Amontillado." Each story is colorfully illustrated by the classic artwork of Harry Clarke, in whom Poe found one of his most sensitive and sympathetic interpreters.
