We are searching data for your request:
Upon completion, a link will appear to access the found materials.
Jack Butler Yeats, the fifth child and youngest son of the painter, John Butler Yeats and the brother of the poet W. B. Yeats, was born in London on 29th August 1871. Educated in County Sligo he moved to England where he studied art under Frederick Brown at the Westminster School of Art. As a student he had his drawings published in Vegetarian, Ariel and Paddock Life.
His biographer, Bruce Arnold, has pointed out: "Yeats, however, found nothing strange about studying in a number of institutions, but he did find quite uncongenial the straitened circumstances at home. These included the burden of having to contribute to the family income. He escaped into the world of his own art and into the entertainment world of the Buffalo Bill Cody shows at Earls Court, near one of the houses in which the family lodged, and drew cowboy subjects obsessively. While an art student he witnessed the efforts of his brother and two sisters to earn money to keep the family together."
Yeats wrote and illustrated stories for books and magazines. In 1894 he produced the first cartoon strip version of Sherlock Holmes. He contributing to several newspapers and journals including the Manchester Guardian, The Daily Graphic, The Sketch and Cassell's Saturday Journal. During this period he was influenced by the work of Phil May.
In 1897 Yeats held his first exhibition at the Clifford Galleries. The art critic, P. G. Konody, argued: "Quite apart from the exquisite humour of these sketches, there is another reason which makes them quite remarkable and worthy of attention. They show an astounding capacity for grasping and retaining the impression of certain short moments".
Yeats work also appeared in Punch Magazine, where he used the pseudonym, W. Bird. This resulted in Cyril Bird using the name "Fougasse". R.G.G. Price, the author of A History of Punch (1957) has argued that "his humour was irrational, wild and precise, his drawings much criticized as incompetent. He broke all the rules and his genius still draws readers back to volumes in which nothing much else appeals to them." Yeats also edited and illustrated two monthly publications, Broadsheet (1902-03) and Broadside (1908-15).
In 1913 the ideas of Robert Henri, the leader of the Ash Can School, inspired the International Exhibition of Modern Art (the Armory Show) held in New York City. Held at the 69th Regiment Armory, the exhibition included over 1,300 works, including Yeats' The Circus Dwarf (1912). The exhibition, held between 17th February and 15th March, received around 250,000 visitors. The art critic, Alexander J. Finberg, pointed out: "The people Mr Yeats is interested in are a rough, hard-bitten, unshaven, and generally disreputable lot of men. His broken-down actors practising fencing, his Circus Dwarf… are subjects no other artist would have chosen to paint".
Yeats, a supporter of the Irish Republican Army, painted Bachelor's Walk: in Memory (1915). The painting shows a flower girl placing flowers on the spot in the street where a person was shot down by British soldiers who had unsuccessfully tried to prevent the landing of arms. Later political works included Communicating with Prisoners (1924) and The Funeral of Harry Boland (1922).
Bruce Arnold has pointed out: "Yeats sided with modernism, which in Dublin in the early 1920s had a distinctive meaning. In the absence of a strong artistic tradition based on academic art the arrival in the city of modernist principles - of abstraction, of a movement that related to European painting rather than to London - was successful. Yeats sided with the artists, led by Paul Henry, who formed the Society of Dublin Painters and became one of their number. He met Oskar Kokoschka, and they became friends. He derided the dominance of Paris and London in artistic life generally."
Yeats was the author of several books including Sligo (1931), The Amaranthers (1936) and The Charmed Life (1938). In 1939 he became the governor of the National Gallery of Ireland. In 1941 John Betjeman and Kenneth Clark arranged for Yeats to have an exhibition at the National Gallery in London.
Jack Butler Yeats died in Portobello Nursing Home in Dublin on 28th March 1957.
[Identification of the item]. The Henry W. and Albert A. Berg Collection of English and American Literature, The New York Public Library.
Repository Henry W. and Albert A. Berg Collection of English and American Literature Access to materials Restricted access. Request access to this collection. Portions of this collection have been digitized and are available online.
This is a synthetic collection consisting of correspondence, portraits, six sketchbooks dating from 1900 to 1908, and pictorial works.
Age, Height & Measurements
Jack Butler Yeats has been died on 85 years (age at death). Jack born under the Virgo horoscope as Jack's birth date is August 29. Jack Butler Yeats height 4 Feet 1 Inches (Approx) & weight 137 lbs (62.1 kg) (Approx.). Right now we don't know about body measurements. We will update in this article.
|Height||6 Feet 11 Inches (Approx)|
|Weight||138 lbs (62.5 kg) (Approx)|
|Shoe Size||7 (US), 6 (UK), 40 (EU), 25.25 (CM)|
Jack B. Yeats (1871–1957)
Jack B. Yeats, painter, was born at 23 Fitzroy Road, London, youngest child of the artist John Butler Yeats and Susan Yeats (née Pollexfen). He spent his early years moving with his family between London, Dublin, and Sligo as his father struggled to establish himself as an artist. From 1879 to 1887, he lived in Sligo with his maternal grandparents. He rejoined his family in London, in 1887, in order to begin his art training at the South Kensington School of Art, and then at the Chiswick School of Art. It was at the latter that Jack met his future wife, fellow student, Mary Cottenham White they married in Surrey in 1894 and, in 1897, they settled in the coastal village of Strete, Devon.
Jack began his artistic career, in the 1890s, as a black and white journalistic illustrator for various publications, alongside carrying out design work for Allen and Sons in Manchester. Following his move to Devon with Cottie in 1897, however, Jack decided to focus on working in watercolour, holding his first exhibition of watercolours, of Devon life, at the Clifford Gallery, London in 1897. Jack and Cottie moved to Ireland in 1910, settling at Greystones, Co. Wicklow until 1917, followed by 61 Marlborough Road, Donnybrook, Dublin and finally, in 1929, to 18 Fitzwilliam Square, Dublin where they remained for the rest of their lives.
Following the move to Ireland, Jack began to work in oil paint. His early paintings share the realist approach of his graphic work and concentrate on scenes of rural and urban life. Yeats’s painting style changed radically in the later 1920s. As time went on he experimented more with colour and used larger canvases. The subject matter of his later paintings is more obscure, although the work remains figurative. Alongside his painting, Jack continued to produce a considerable amount of work for publication, including illustrations for J.M. Synge's book The Aran Islands (1907). In addition, Yeats published a number of plays for miniature theatre, a collection of short stories for children, and several plays and novels published throughout the 1930s and 1940s.
Yeats’s personal archive is located in the National Gallery of Ireland, and includes the artist’s sketchbooks which document over fifty years of his career. Additional material documents Mary Cottenham Yeats’s artistic contribution to the Cuala Industries established by Susan Mary and Elizabeth Corbet Yeats in 1908.
The Funeral of Harry Boland
Painted in 1922, The Funeral of Harry Boland is part of the Niland Collection. This was founded by Nora Niland, the county librarian in Sligo, who started collecting art in the 1950s. Mrs. V. Franklin bought it from the Capuchin Order in 1959, and gifted it to the Niland Collection. This picture was exhibited in the RHA in 1923, under the title A Funeral, and was brought to public attention through the MacGreevy article in 1942.
Harry Boland was a leading anti-Treaty Republican, killed during the Civil War.
The painting depicts the funeral of Harry Boland (1884-1922), a member of the Irish Republican Brotherhood and subsequently a member of the Dail. He was killed, in controversial circumstances, in Skerries, County Dublin. It is said that this painting is the only public record of Boland’s funeral as cameras were confiscated at the gates of the cemetery. Boland was a close friend of both Michael Collins (1890-1922) and of Eamon de Valera, respective leaders of the pro and anti-Treaty sides of the Treaty split in 1922.
While he opposed the Treaty, he endeavoured to be a peace-maker between the two factions but took the anti-Treaty side in the Civil War and was shot and mortally wounded during his arrest by pro-Treaty troops. MacGreevy said that Boland was unarmed at the time of his arrest and implied that he was mortally wounded by over-zealous Free State personnel.
Both sides in the Civil War lost notable members, with brother fighting brother and father fighting son. By the time MacGreevy wrote his article, in 1942, de Valera and Fianna Fail were in power which is an example of democratic politics at work in a newly emerged state.
A real Republican funeral at Glasnevin in 1922, that of Cathal Brugha, killed on July 5 of that year.
The painting depicts the scene at the the Republican plot at Glasnevin Cemetery, Dublin where Boland was buried. The round tower, which commemorates Daniel O’Connell – The Liberator (1775-1847), dominates the background. Interestingly, Yeats focuses on the crowd rather than on Boland’s coffin.
The viewer is looking towards a freshly dug grave which is bedecked with flowers. On the right-hand side, members of Cumann na mBan, the women’s Republican organisation, are looking on and some of them are carrying wreaths of flowers.
Republican men, some of whom are holding rifles, are also looking on with bowed heads. Despite the risks to themselves, they are reported to have fired a salute of three volleys in memory of their dead comrade.
A group of priests, dressed in black, are on the left-hand side of the picture. The leader of the IRA, on the lower right-hand side, is staring directly at the coffin. Heads of other onlookers can be seen in the foreground, including two young men who seem to be chatting which is out of kilter with the general air of sombreness. MacGreevy maintained that this picture marks the complete and masterly statement in terms of modern Irish life of the great European tradition of historical painting.
It appears the artist is sympathetic to what is going on rather than merely a recorder of the event. The picture also evokes a spirit of the nobility of sacrifice and the sense of reverence for a lost patriot. For this reason, it is a significant memorial to all those who fell during the troubled times of the Civil War.
Art and Ireland: Journeys With Jack Yeats
The Outsider: that was the name curators chose as they were putting together a major show of the work of artist Jack Yeats in Sligo in Ireland a few years back. That’s one way — a good way — to look at his work. If I had been designing it, though, I’d have called it The Traveler. Jack Yeats was man who used his physical journeys from Dublin to Sligo and around the west of Ireland as stepping off points for journeys of imagination and curiosity which he expressed through drawing and painting.
Have you heard of Jack Yeats? If you are planning or dreaming of a trip to Ireland, you will want to learn about him. Chances are you already know of his brother, William Butler Yeats, poet, politician, playwright, he of the poems about Lake Isle of Innisfree and Dublin 1916. Jack was a poet and writer as well, but his main work was as a painter. In this he was just as distinguished as WB was in his fields. Many consider him Ireland’s most famous painter but unless you grew up in Ireland — perhaps not even then — you may not have heard that much about Jack Yeats.
Jack’s subjects were the vibrant life of Dublin city, the mystical and uncertain world of Irish legend, and the day to day life and the at times mysterious landscapes of the west of Ireland. These are ideas and subjects which held his imagination across a long career he began drawing as a young boy in the 1870s and continued to paint well into his eighties. His choices and methods of working with these ideas, and perhaps his understanding of them, changed from direct representation to work which drew on techniques of romanticism, to impressionism, to expressionism in varied forms, on to a focus on color and energy. Major changes in style these were, but at the heart of it all remained landscape, legend, and life of Ireland, and especially Ireland’s west.
Yeats spent much of his growing up in the west, in the Sligo home of his grandparents near Rosses Point. After he’d moved away he often returned to Sligo, Galway, Mayo, and Donegal with his sketch books, creating ideas that he would draw on and explore through his life. Dublin was a sourcebook too, but it was the enduring energy and presence of Sligo that kept fueling his imagination and his work through the decades. Indeed, if you visit the west of Ireland today, you may catch still bits of that mystery in the land and weather, and if you’ve traveled west in Ireland, you may recognize these things in the work of Jack Yeats.
One of his earlier works, Man of Arranmore, catches a hint of individualism and of mystery in a portrait that is both direct and indirect, a quality you’d also find in his Batchelor’s Walk in Memory, painted a decade or more later.
The Liffey Swim captures the energy of a Dublin sporting event with a style that seems to be heading to a freer use of line and brush stroke, and though color flashes in and out, it holds close to true hues of an Irish winter day, browns and muted shades.
Explorer Rebuffed, painted in 1951 some forty six years on from Man of Arranmore, could almost be the same man, out again on the open road in the west of Ireland. Here, though, he is painted in light and color and gesture, the traveler — or the outsider — defined and shown by spirit more than by detail of clothing or facial expression.
This becomes true of the way Yeats paints landscape as time goes on, too: from the the impressions of solid forms in The Liffey Swim to what becomes a mystical landscape of hues of blues — a landscape, indeed, but one of mystery — in The Open Gate. The open road of imagination takes over as the viewer enters the rider’s viewpoint in For the Road. Forty and fifty years on, subjects drawn from the same well of imagination and story, painted by the same artist, told in very differing ways.
Yeats belonged to no salon or school of artists, he taught no classes and took no pupils. What he did have was a deep knowledge of Ireland, its people, its landscapes, and its legends, and a willingness to experiment with ways of expressing and translating these things visually. That is one of the reasons his work has endured through ups and downs of acceptance and falling out of favor.
Jack Yeats was a traveler in the world of ideas, in the world of observation, through the world of paint and canvas and color into the world of imagination and myth. After you spend a bit of time in the presence of his work, you may see Ireland, or hear its story, a bit differently because of the encounter.
Was he Ireland’s greatest artist? Well, to my mind the maker of the Ardagh chalice back in the eighth century might have a good claim to that as well, but each can teach you things about Ireland you would not learn otherwise. Give Jack Yeats, especially his later work, a look, and see what you think.
To see the work of Yeats for yourself, The National Gallery of Ireland in Dublin and The Model Museum in Sligo are good places to begin. As the physical space of the National Gallery in Dublin is undergoing refurbishment at this writing (Update: The refurbishment is done. The online collection is still well worth your time though) you may want to begin with the the National Gallery’s holdings on line. Also, the BBC has put together a slide show which offers a good overview of the work of Jack Yeats.
Had you heard of Jack Yeats or seen his work before? Have you traveled in the west of Ireland? Let us know in the comment section below.
Another thing about Jack Yeats: he is Ireland’s first Olympic medalist. He won a silver medal in art for The Liffey Swim at the 1924 Olympics in Paris.
Photographs of the seacoast of Sligo courtesy of the Geograph Ireland Project and photographers Bob Embleton and John M Man of Arranmore, Liffey Swim and For the Road copyright of the estate of Jack Yeats and courtesy of The National Gallery of Ireland Explorer Rebuffed copyright of the estate of Jack Yeats and courtesy of Kirklees Museums and Galleries. Thank you for respecting copyright.
Consider subscribing to our stories through e mail, and connecting with us through your favorite social networks. Thank you.
Jack Butler Yeats
photographer Boughton, Alice, 1865-1943 Boughton, Alice, 1865-1943 Subject Yeats, Jack Butler Place of publication, production, or execution Other Physical Description 1 photographic print : b&w image 24 x 18 cm. on board 27 x 21 cm. Summary Portrait of Yeats holding a cigar
Identification on front (handwritten): Yeats, Jack B. Photograph, Copyright, 1904, by Alice Boughton, N.Y. Citation Alice Boughton. Jack Butler Yeats, 1904. Charles Scribner's Sons Art Reference Department records, 1839-1962. Archives of American Art, Smithsonian Institution. Use Note Current copyright status is undetermined Location Note Archives of American Art, Smithsonian Institution Washington, D.C. 20560 1904 Record number (DSI-AAA)2461 Type Photographs Archives of American Art Topic Portraits Record ID AAADCD_item_2461 Usage of Metadata (Object Detail Text) Usage conditions apply
The Liffey Swim and Jack Butler Yeats: Ireland’s First Olympic Medalist
The first Olympic medal won by the Irish Free State was a silver medal in 1924, awarded Jack Butler Yeats for his 1923 painting The Liffey Swim. That may seem surprising today, however between 1912 and 1948 the arts took pride of place alongside sporting events in the Olympic Games. The arts section was broken down into five categories: architecture, literature, music, painting and sculpture.
The arts were introduced to the Olympic Games largely due to the work and enthusiasm of one man: Baron Pierre de Coubertin. The Frenchman spent his life studying sports and education, becoming convinced of the importance of physical exercise in day to day and cultural life. Known as the Father of the Modern Olympics after he founded the International Olympic Committee, he acted as the driving force behind the sporting events revival.
Inspired by a somewhat romanticised view of the Ancient Greek games, his prime ambition was to place sport at the centre of French social and cultural life. More importantly, Coubertin saw the arts as being equal to sports. One can then see why the silver medal went to a work such as The Liffey Swim, which is now held in the National Gallery of Ireland. A lyre is represented on one side of the medal next to oars, javelins and other sporting paraphernalia.
There was of course a catch all eligible works of art had to be inspired by sport and this suited Yeats well. Many of his oil paintings depicted boxing and horse racing events. Alongside The Liffey Swim (credited by the Olympic Committee as just Swimming) Yeats also submitted his 1915 painting Before The Start an oil painting of three jockeys before the race began. Fellow Irish artist Sean Keating entered his painting The Fowler, which did not take home a medal. The Gold medal winner was Jean Jacoby from Luxembourg. He submitted, and won for three paintings: Corner, Depart and Rugby. World renowned artists were a part of the judging panel including John Singer Sargent and Belfast-born Sir John Lavery (who also has works on display at The National Gallery). At 53 Yeats was already a star on the international arts scene.
Jack Butler Yeats was the younger brother of Nobel Laureate William Butler Yeats and son of the portrait artist John Butler Yeats. The family were very artistic, making their names through their writing or their paintings. A successful writer and playwright Jack started out as a cartoonist before he began to focus on oil painting. It was here that he found his calling and became one of Ireland’s most prominent artists of the twentieth century. Samuel Beckett once recorded that “Yeats is with the greats of our time”.
The Liffey Swim itself was a new event which Yeats captured in its infancy. The first race took place in 1920 with 27 entrants. Beginning at Victoria Quay, the swimmers would follow the river through the centre of Dublin, with spectators gathered on bridges to watch, before coming to an end one and a half miles later at Butt Bridge. After years of uncertainty, The Liffey Swim proved to be a transformative and vibrant communal event that bought people together from across the political divide. The painting captures the essence of that bond of excitement. According to the National Gallery, the 1923 swim was promoted as “the biggest free spectacle of the year in Dublin”. It was held after work hours on a Saturday so as many people as possible could watch. Even today the race still takes place on a Saturday in late August or early September. The 1923 winner was former Olympian water polo player Charles “Cecil” Fagan, who would go on to enter the race for many years to come. The runner up was the previous year’s winner Thomas Hayes Dockrell. The 1924 Olympics were the first Olympic Games after the years of conflict and war that had plagued Ireland. The fact that artists of such ability and stature wanted to take part arguably shows a great commitment to the new Irish Free State, and a desire to show the positive side of Ireland. The Liffey Swim is a positive and vibrant depiction of Dublin. For this one moment in time all are united in the joy and excitement of the competitive swim.
The bright blues of the painting reinforce the idea of this being a delightful day out. In reality it is likely that Yeats took a few artistic liberties with the colouring. On the actual day in 1923 the Irish Independent reported that “it rained now and then, but like a deluge during the concluding stages of the race” and that “a canopy of umbrellas ten deep lined the river”. Interestingly Yeats has also included himself in spectator scenes. The man wearing the brown fedora is thought to be Yeats, and the woman in the elaborate yellow hat his wife Cottie. In the painting the swimmers are approaching O’Connell Bridge. There is a feeling of activity and movement from the thick loose brush strokes and multiple layers of oil paint. The audience are placed in with the spectators, looking over shoulders to see the swimmers as they come into view. It captures the celebratory feeling that can be seen each year at the event.
Ultimately the fledgling Irish State only took home two medals from the 1924 Olympic Games. Both of these were from the arts categories: Yeats’ silver medal for The Liffey Swim and a bronze medal in literature for Irish poet Oliver Gogarty for his poem Ode to the Tailteann Games. Overall Ireland came joint fourth, with Denmark,in the arts section. Although Yeats was the first Irish artist of the twentieth century to sell for over £1,000,000 the silver medal did not initially lead to a sale. In 1925 The Liffey Swim was exhibited in the Royal Hibernian Academy in Dublin, with a £300 price tag. It wasn’t until December 1930 that the painting finally sold, for £250 to the Haverty Bequest Fund, who presented the painting to the National Gallery of Ireland in 1931.
Jack Butler Yeats
In his paintings of the early 1920s, Jack Yeats surveyed the character and activities of the ordinary people of Western Ireland. He used a bold drawing in outline that is almost caricature , which he then painted directly with strong colours. Here a man stares over the parapet of the bridge at Sligo into the muddy water of the river. His deportment and expression suggest a particular type of local character. Yeats grew up near Sligo, and knew the people well. In about 1925 Yeats took up a quite different manner of painting, with lighter colours, particularly blues, and looser shapes, and with imaginary subjects from Irish history.
Jack Yeats was the younger brother of the poet W.B. Yeats.
Gallery label, September 2004
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.
Jack Butler Yeats 1871–1957
T00693 Morning after Rain 1923
Inscr. ‘Jack B Yeats’ b.r.
Canvas, 24 x 36 (61 x 91 . 5).
Presented by the Friends of the Tate Gallery 1964.
Coll: The artist’s estate, sold through the Waddington Galleries.
Exh: Waddington Galleries, March–April 1963 (3) Arts Council of Northern Ireland tour, Londonderry and Belfast, April–May 1964 (52).
Listed in the artist’s records under the year 1913 with the additional title, in brackets, of ‘Bridge in Sligo’. Yeats did not let his paintings leave his studio, nor enter them in his records, until six months after they were painted. The picture was exhibited in both Dublin and London during the artist’s lifetime but it has not been possible to trace the catalogues. (Information from Victor Waddington, 11 December 1964.)
Life in the West of Ireland, by Jack Butler Yeats (1912)
Jack Butler Yeats (1871-1957) is considered by many to be the most important Irish artist of the 20th century. Like his brother, the poet William Butler Yeats , Jack Yeats was a key figure in the Celtic Revival movement of the late 19th and early 20th centuries. Jack Yeats is best known for his long and prolific career in the visual arts, but he also wrote novels, essays, and plays. A profound attachment to the land and people of Ireland is evident in all of his work.
1912 first edition of Life in the West of Ireland
Jack was the youngest child of Irish artist John Butler Yeats and his wife Susan Pollexfen. The Yeats family were Anglo-Irish Protestants from County Sligo, Ireland, but Jack Yeats was born in London, where his father had moved the family after giving up a law practice to pursue his artistic ambitions. John Yeats had some success as a portrait artist, but the family suffered chronic financial difficulties. When Jack was eight years old he was sent to live with his maternal grandparents in Sligo on the northwest coast of Ireland, where he remained for the next eleven years. When he returned to London in 1887, Jack entered art school and began his career as a professional artist and illustrator.
Frontispiece illustration for Life in the West of Ireland
Jack began his career as an illustrator and cartoonist for popular English magazines and newspapers. He also provided artwork for cards and publications of his sister Elizabeth Yeats’s Cuala Press. In 1910 Jack and his wife moved back to Ireland and settled there permanently.
Jack Yeats once remarked to Thomas MacGreevy that “No one creates… the artist assembles memories.” Yeats’s memories of the Sligo of his childhood are the subject of Life in the West of Ireland, a volume of line drawings, watercolors, and reproductions of oil paintings published in 1912.
Z. Smith Reynolds Library Special Collections holds two copies of the first edition of Life in the West of Ireland. One is a presentation copy from Jack Yeats to Augusta, Lady Gregory.
Inscription by Jack Yeats
Lady Gregory was a folklorist, playwright, and monumental figure in the Irish Literary Renaissance. She advised and encouraged many of the most important Irish writers and artists of the time, including both William and Jack Yeats. Jack sent her a copy of Life in the West of Ireland in December 1912 as she was embarking on a tour of the United States.
Manuscript note from Jack Yeats laid into the ZSR copy of Life in the West of Ireland
Life in the West of Ireland is an affectionate but unsentimental portrait of a way of life that was disappearing in the early 20th century. Yeats’s illustrations document the everyday life of inhabitants of towns like Sligo.
From an early age Jack Yeats had an interest in theater and spectacle. Many of the illustrations in Life in the West of Ireland depict popular entertainments– circuses, fairs, and stage melodramas.
Later in his career Jack Yeats turned more to oil painting. Several of his paintings are reproduced as black and white plates in Life in the West of Ireland.
The first edition of Life in the West of Ireland included 150 copies of a special limited edition.
Limited edition (left) and regular first edition (right), both published by Maunsel & Co.
ZSR Special Collections holds copy 30 of the limited edition, with an original color sketch of a circus clown.
Sketch by Jack Yeats for the limited edition of Life in the West of Ireland
Wake Forest’s copies of the inscribed first edition and the limited edition were purchased by the library in 1972 and 1974 respectively. They are part of the extensive collection of Irish Literary Renaissance materials in ZSR Library’s Special Collections. This collection includes most of Jack Yeats’s published works, along with near-complete collections of the works of W.B. Yeats, Lady Gregory, and many other important Irish writers. ZSR Special Collections also holds the archives of Liam Miller and his Dolmen Press, which was the successor to the Cuala Press and publisher of many important works of Irish literature in the second half of the 20th century.
5 Comments on ‘Life in the West of Ireland, by Jack Butler Yeats (1912)’
I love the illustrations! Thanks for highlighting this cool work. Talent ran in the Yeats family, didn’t it?
As always, wonderful post Megan. Beautiful illustrations. It’s funny that he sent lady Gregory the same book twice.
Thanks for bringing these hidden treasures to light, Megan. I love the illustrations!
This is a great explanation of the talented Yeats family and specifically, Jack. I think he was the most talented Yeats in the visual arts. Thanks for highlighting this artist and his work.
Thank you for this article. I love the picture of the little boy looking at the circus poster!