One of the legacies of the Una Watters: Into the Light retrospective at the United Arts Club, Dublin (March 10 – April 2, 2022) was that although the Hugh Lane Gallery didn’t lend us the The People’s Gardens (1963, oil on canvas, 40.6 x 50.8cm) for the show, they did agree to a public viewing of the painting on April 5.
The work has been in the Hugh Lane collection since 1967. It was shown at the Royal Hibernian Academy Annual Exhibition in 1964 after which the Thomas Haverty Trust bought the painting. The trust lent it for Una’s posthumous retrospective in 1966. The following year they donated it to the Hugh Lane.
The Haverty Trust was established following the death of the artist Thomas Haverty who left a sum of money for the purchase of paintings by Irish artists for public galleries and institutions. Between 1935 and 1966, the Trust gave the Hugh Lane Gallery over 40 works including paintings by Mary Swanzy, William Leech, Brigid Ganly and Maurice MacGonigal (who encouraged Watters in her art studies).
Although the gallery does not have pre-computerisation records of showings of the works in their collection, there is anecdotal evidence that The People’s Gardens was shown in the Hugh Lane in the 1970s – Una’s niece, Eva Byrne, remembers seeing it there as a child with her mother. But it hasn’t been exhibited in recent times.
However, that does not mean that it hasn’t been seen. According to gallery records, it was on loan to the City Hall between 1969 and 1974 and again in the 1980s where it hung in the office of Mr P O’ Muirgheasa (my namesake, but no relation!) Unfortunately, it sustained “biro damage” during this time which had to be repaired although the note in the gallery file says traces of the biro marks remained underneath the central figure.
It was also hung in the ILAC Centre library in 1987 along with a number of other works on loan from the Hugh Lane – including Harry Kernoff, John Leech and Lizzie Stephens – all of them depicting scenes of Dublin.
Acting Head of Collections Logan Sisley who facilitated the showing, and who has contributed to this blog, (May 6, 2020) was on hand to answer questions on the work. He pointed out the cubist renderings of the trees – (see also blog on Wild Apples, June 24, 2020) – and the application of a dabbing technique to create texture in the grassy area in the foreground.
But the gallery viewing also brought to light some more biographical information about the painting.
We already knew that the elderly couple on the path in the centre of the work are Una’s parents, but the other figures have also now been identified. Georgina O’Donovan, a niece of Eugene Watters, says the little girl in yellow in the foreground is her sister, Linda, and that the male figure reading the newspaper is Eugene. She herself can be glimpsed in a white dress behind a tree and the figures beside her are her parents and her baby brother in a pram. It’s also likely that Una is the woman sitting sheltering under the trees. Although she’s not wearing her trademark red, her pose is reminiscent of other works in which she places herself as an observer of the scene she is painting.
The presence of Eugene’s family from Ballinasloe in what is essentially a Dublin painting is surprising, though Georgina remembers several outings to the park on trips to Dublin, although she believes this may be a composite record of those expeditions, rather than one particular day.
Either way, without the public showing, we might never have learned the background to this work. The viewing of The People’s Gardens provided a focus for memories and connections to be made by those who knew Una and to shed light on her artistic practice and inspiration.
It also highlights Una’s work in the context of the city’s social history. As Dr Roisin Kennedy remarked at the opening of the exhibition many of Una’s paintings record the public life of Dubliners in the 50s and 60s, a life now vanished – see The Ladies Committee in the image gallery on this site ( 1966 Exhibition page) or Malahide (see blog of July 22, 2020).
One more good reason for the Hugh Lane to show Una Watters to the world.