Mythology

Self-Portrait as Timanthes (c.1780-1803) by James Barry (1741-1806)

Self-Portrait as Timanthes (c.1780-1803) by James Barry (1741-1806). Barry presents himself personified as an artist of ancient Greece, in an image full of references to classical mythology. Partly visible behind him is the sculpture of Hercules crushing the serpent of Envy. See also Death of Adonis. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland

Self-Portrait as Timanthes (c.1780-1803) by James Barry (1741-1806)
Photo (c) National Gallery of Ireland

Self-Portrait as Timanthes (c.1780-1803) by James Barry (1741-1806)

Self-Portrait as Timanthes (c.1780-1803) by James Barry (1741-1806). Barry presents himself personified as an artist of ancient Greece, in an image full of references to classical mythology. Partly visible behind him is the sculpture of Hercules crushing the serpent of Envy. See also Death of Adonis. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland

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Cupid and Psyche in the Nuptial Bower (1792-93) by Hugh Douglas Hamilton (1740-1808)

Cupid and Psyche in the Nuptial Bower (1792-93) by Hugh Douglas Hamilton (1740-1808) illustrates a playful theme popular with artists at the time. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland

Cupid and Psyche in the Nuptial Bower (1792-93) by Hugh Douglas Hamilton (1740-1808)
Photo (c) National Gallery of Ireland

Cupid and Psyche in the Nuptial Bower (1792-93) by Hugh Douglas Hamilton (1740-1808)

Cupid and Psyche in the Nuptial Bower (1792-93) by Hugh Douglas Hamilton (1740-1808) illustrates a playful theme popular with artists at the time. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland

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From the eighteenth century, with the development of formal academic training for artists, ‘History Painting’ – i.e. paintings of Biblical or mythological scenes (only very occasionally including scenes from actual history) – was considered to be the most important and prestigious. Classical mythological themes became particularly popular as both artists and patrons travelled to Europe on ‘the Grand Tour’, and they remained significant well into the nineteenth century. Artists addressed such topics both to establish their own familiarity with classical culture, and in response to the interests of patrons.

The Marriage of Strongbow and Aoife (1854) by Daniel Maclise (1906-1870)

The Marriage of Strongbow and Aoife (1854) by Daniel Maclise (1906-1870). This significant event in Irish history is depicted as a sacrifice. The burning of Waterford city in the background, and Strongbow’s sword resting on a broken high cross symbolise the destruction of Ireland’s rich cultural history with the coming of the Anglo-Normans. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland

The Marriage of Strongbow and Aoife (1854) by Daniel Maclise (1906-1870)
Photo (c) National Gallery of Ireland

The Marriage of Strongbow and Aoife (1854) by Daniel Maclise (1906-1870)

The Marriage of Strongbow and Aoife (1854) by Daniel Maclise (1906-1870). This significant event in Irish history is depicted as a sacrifice. The burning of Waterford city in the background, and Strongbow’s sword resting on a broken high cross symbolise the destruction of Ireland’s rich cultural history with the coming of the Anglo-Normans. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland

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Until the mid-nineteenth century scenes from Irish history were quite rare. One of the most important examples is Daniel Maclise’s The Marriage of Strongbow and Aoife (1854) which depicts the twelfth-century union between Britain and Ireland through the marriage of the Irish princess to the Anglo-Norman conqueror.

The Death of Cuchulainn (1911-12) by Oliver Sheppard (1865-1941)

Courtesy of An Post

The Death of Cuchulainn (1911-12) by Oliver Sheppard (1865-1941)
Courtesy of An Post

The Death of Cuchulainn (1911-12) by Oliver Sheppard (1865-1941)

Courtesy of An Post

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The academic study of Irish mythology that blossomed in the nineteenth century raised the profile of such themes. Irish mythological subjects became particularly popular with artists wishing to express Irish national identity through their art. There are many examples of such subjects, including Oliver Sheppard’s The Death of Cuchulainn, an almost life-size bronze sculpture, located in the General Post Office in O’Connell Street, Dublin, which represents the tragic hero from the Ulster Cycle of Irish myth and legend. While it dates to 1911-12, it was subsequently identified as an appropriate symbol of Irishmen killed during the 1916 Rising.

Children of Lir (1964) by Oisin Kelly (1915-1981)

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Oisin Kelly’s Children of Lir was commissioned for the Garden of Remembrance (An Gairdín Cuimhneacháin) as part of the 50^th anniversary commemoration of the 1916 Rising in 1966. While it attracted some criticism for its ‘pagan’ rather than Christian theme, it was ultimately deemed as an appropriate representation of transformation and peace.