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Alice Sarah Kinkead
[edit]Early Life
[edit]Kinkead was born in Tuam in Galway in 1871. She was one of three sibling Francis kinked and Richard Kinkead. Her father, Dr. Richard John Kinkead, GP (1844–1928), was appointed professor of Gynaecology at National University of Ireland, Galway in 1876, wherein the family moved to Forster House in the town. In order to pursue her artistic career, Kinkead relocated to London. She trained under Edith Oenone Somerville as an artist in Paris in the middle of the eighteen-nineties, and this association with Somerville persisted throughout her life. She displayed her works in the salon de la nationale, a society founded in the 1890s, in 1897 in Paris. After this, Kinkead spent most of her time in London, but she continued to be friends with Irish painters and writers, among them Somerville and other authors. And Violet Martin, her cousin, partner, and writing partner. Later in life, Kinkead became known in English literary circles after meeting Conrad in Corsica while on a painting vacation. She benefited from their connection because Conrad wrote the preface to a publication of an exhibition. She not only created portraits of him, but also those of his wife Jessie in the early nineteenth century and her final painting of him in the year 1924. We are aware that she displayed her work in 1897 at the salon de la nationale in Paris, a group founded in the 1890s. The Hibernian Academy in Dublin, the Belfast Art Society, the Salon de Nationale in Paris, and a number of London galleries, including the Goupil Gallery and the United Arts Gallery, all had exhibitions of Alice's art, which flourished. 7 She maintained a close relationship with Edith Somerville during this time, and their writing reveals a high level of closeness between the two families. For instance, in 1895, Edith.[1]
Career
[edit]Kinkead received his education in Galway as well as at the Académie Delécluse in Paris. She moved permanently to London as part of her artistic profession. Some of her companions included Edith Anna Somerville, Violet Florence Martin, Lady Gregory, W.B. Yeats, Frances Perkins, and Ethel Smyth.In the middle of the 1890s, she studied art in Paris under Edith Oenone Somerville, and she remained close to Somerville throughout the rest of her life.ndon, but she continued to be friends with Irish painters and writers, among them Somerville and other authors[2]. Later in life, Kinkead became known in English literary circles after meeting Conrad in Corsica while on a painting vacation. [3]We are aware that she displayed her work in 1897 at the salon de la nationale in Paris, a group founded in the 1890s. The Hibernian Academy in Dublin, the Belfast Art Society, the Salon de Nationale in Paris, and a number of London galleries, including the Goupil Gallery and the United Arts Gallery, all had exhibitions of Alice's art, which flourished. 7 She maintained a close relationship with Edith Somerville during this time, and their writing reveals a high level of closeness between the two families. 1945's Art versus Illness and TV personality. He pushed her to begin painting as occupational therapy in 1945 and sparked a passionate interest in contemporary art and artists in her. She credited Hill's impact as being one of her most fortunate and enlightening experiences, and without his zeal, she never would have developed an interest in art or wanted to become a painter. When her father visited her after she had been taken to Switzerland in 1947, he brought a box of oil paints for her. She returned to Ireland in 1949 and enrolled for a year at the National College of Art in 1950. She first learned how to paint landscapes from Charles Lamb in Carraroe, County Galway. [1]In Dublin, they briefly shared the studio of the late Dermod O'Brien (q.v.) in the back of Fitzwilliam Square after she met Barbara Warren there. She started exhibiting regularly with the Water Colour Society of Ireland in 1953 and exhibited 67 pieces between then and 1978. At the Irish Exhibition of Living Art in 1954, she contributed Lonely Shore, Cactus and Prickly Pears, and The Writing Table Paintings.[4]
References
[edit]- ^ a b Knowles, O., & Simmons, A. H. (2019). Epistolary Conrad: Four New Letters. The Conradian, 44(1).Chicago
- ^ CONRAD’S PAINTERLY DRAWINGS Johan Adam Warodell*[5] Paccaud-Huguet, J. (2007). ‘THOSE BROKEN PHRASES’: THE CONRADIAN VOICE EFFECT. Yearbook of Conrad Studies, 3, 53–66. http://www.jstor.org/stable/26424125
- ^ Jones, S. (2008). Alice Kinkead and the Conrads. The Conradian, 33(1), 103–118. http://www.jstor.org/stable/20873628
- ^ JONES, S. (2006). ALICE KINKEAD AND THE LAST PORTRAIT OF CONRAD. Journal of the Galway Archaeological and Historical Society, 58, 156–164.