Robert Ballagh

Ón Vicipéid, an chiclipéid shaor.

Is ealaíontóir, péintéir agus dearthóir Éireannach é Robert "Bobby" Ballagh. Rugadh i mBaile Átha Cliath é 22 Meán Fómhair, 1943 agus rinne sé a chuid staidéir ag Institiúid Teicneolaíochta Bhaile Átha Cliath ar Shráid Bolton.[1]

Ní chloíonn Ballagh le haon stíl amháin. Clúdaíonn a chuid ealaíne réimse leathan stíle ar nós pop-ealaín , iarnua-aoiseachas, scáthú hipirleaisteach agus foirmiúlachas, chomh maith le neart ábhair a bhaineann le cúrsaí litríochta, stairiúla agus polataíochta. [2]

Luathshaol[athraigh | edit source]

Tagann Robert Ballagh ó chúlra meánaicme i mBaile Átha Cliath. Rugadh sa phríomhchaithair é, 22ú Meán Fómhair, 1943. Tá deighilt cultúrtha na tréimhse seo le feiceáil óna thuimitheoirí; Nancy agus Robert Ballagh.[3] Ba Chaitliceach í Nancy, a mháthair agus ba Phreispitéireach é Robert, a athair. D'iompaigh a athair go gCaitliceachas tar éis á posadh. Chónaigh siad ag 14 Sráid Elgin, Droichead na Dothra [4]

“my mother was a very respectable serious woman who thought that art was not a serious profession.” D'fhreastail Robert Ballagh ar Institiúid Teicneolaíochta Bhaile Átha Cliath ar sráid Bolton, áit a dhearna sé staidéar ar ailtireacht. Ealaíontóir féin-múinte atá ann go fórmhar agus ní in aon stíl amháin a luíonn a scileanna ealaíon. Clúdaíonn a shaothar pop-ealaín, dearadh seiteanna agus stampaí, portráidí agus neart eile. Tar éis 3 bliana san ollscoil, ba léir go raibh tionchar ag an ailtreachas ar a chuid ealaíon. Dar leisean, bíonn a fhios aige roimh ré an íomhá atá uaidh, cosúil le tógáil tí "I generally make very few changes once I've worked out the picture...generally the house is built according to the blueprints...it's all planned and worked out [5]

"An artist doesn’t stop working. He may stop selling and making money. But if he’s any sort of an artist, he never stops working" (Ballagh ag síniú don dól, 1976)

Chuaigh Ballagh ar an dól don chéad uair sna seascaidí nuair a chaill sé a phost mar línitheoir ailtireachta.

Baile Átha Cliath[athraigh | edit source]

D'eirigh suim Ballagh i gcúrsaí polaitíochta níos treise fad is d'fhorbair sé a chuid oibre. Léirítear seo in Figures Looking at an Exhibition mar shampla. Bhí sé ag iarraidh a chuid chúlra agus a thaithí féin a chur in iúil mar ealaíontóir ina chonaí i mBaile Átha Cliath sa fichiú aois déag. Léiríonn a obair, go háirithe an obair a rinne se in 1982, gnéithe dá shaol féin.

D'fhoilsigh sé leabhar griangraf Bhaile Átha Cliath in 1981. Bhí sé ar intinn Ballagh chreimeadh na cathrach a thaifead sa leabhar. Feiceann sé codarsnacht idir a áit chónaithe sna caogaidí agus an t-athrú tapaigh a bhí le féiceáil i mBaile Átha Cliath sna hochtaidí. Fuair Ballagh ionsparáid ó James Joyce agus a iarrachtaí le cur síos a dhéanamh ar Bhaile Átha Cliath agus a muintir. Clúdaíonn na griangraif foirgnimh gnó, dealbh, gáirdíní, abhainn, séipéil, páirceanna agus neart eile. Dúirt Robert go raibh sé ag iarraidh "to see something special in the simplest of things has...been my goal in the preparation of this book"[6]

Bhí rath idirnáisiúnta ar Ballagh ag é 33 blian d'aois ach ní raibh mórán le taispeáit aige maidir le hairgead. Bhí ciall airgeadais le fanacht i gCloch Leathan i mBaile Átha Cliath i dteachín breá simplí . [7]

Ealaíontóir[athraigh | edit source]

Robert Ballagh is one of the few not to conform: both the content and the form of his painting are a demystification of art and the artist. “I love the idea of art being used and if its commissioned it’s always going to be used…” , designed special issues of stamps every year since 1972

“Fascination with the landscape has been a constant in Irish art. It remains so among some of today’s leading artists, albeit in ways very different from those of the traditional landscape painters. The work of artists like Alanna O’Kelly, Kathy Prendergast and Willie Doherty, as we will see in chapter eight, suggests a radically different relationship between the artist and the land. This transfiguring of landscape is the one marker of thee influence of international post-modernism, the seeds of which began to be visible in the work of a few Irish artists-Brian O’Doherty, James Coleman, Micheal Farrall, Robert Ballagh-in the late sixties and early seventies. Though “post-modernism” is difficult to define as “Irish”, it is safe enough to observe that these artists turned post-modern preoccupations-with questions of perceptionm language, identity, power and history-to distinctly Irish ends.”[8]

Like Oisín Kelly, who exhibited his piece The Marchers at the Living Art exhibition in 1969, the painter Robert Ballagh made telling images of political activists protesting against political injustice by means of marching rather than killing, until Bloody Sunday seemed to negate that possibility, Ballagh also took on world politics, including the war in Vietnam, before he went back to more strictly painterly concerns in a witty and skilful series of paintings of people looking at contemporary art. He really enjoyed himself painting imitation Hason Pollock, Clyfford Still, Ellsworth Kelly, Pierre Soulanges Franks Stella, Andy Warhol and a whole range of Irish contemporaries including Patrick Scott, Cecil King and Micheal Farrel, with an equally varied range of the Irish public looking at them. The series, in its laid-back, even cheeky way, made telling statements about art as mimese and the body language of art-lovers. It was him most brilliant work, unequalled by the remainder of his oeuvre, and was also a first incursion into post-modernism, bringing post-modernism into Pop Art as Brian O’Doherty had introduced Minimalism. Ballagh went on to exploit these insights in Inside No.3 (1979), based on Velasquez;s Las Meninas, ans The Conversation (1977), based on Vermeer’s Allegory of the Art of Painting. His series Great Revolutionary Paintings translated famous paintings by Delacroix and Goya into diredt contemporary political statements, as in 3rd May-Goya. Ballagh also combined Pop and history in his numerous designs for Republic of Ireland potage stamps.[9]

People don’t sit for his portraits, photographs them (different angles), dole free 1976 onwards (portraits: Noel Browne, Hugh Leonard, Bernadette Greevy, James Plunkett, Brendan Smith, Charles Haughey), won Alice Berger Hammerschlag Award 1971 (Third of May/Liberty at the Barricades/Rape of the Sabines), 80s Post-modernism, Micheal Farrell-painter on 2 murals for National Bank 1967

Dearthóir[athraigh | edit source]

Clúdaíonn scileanna Ballagh neart réimse dearthóireachta chomh maith le healaín. Tá clú agus cáil air ina dearthóir den seit stáitse do "Riverdance" [10]

Go dtí le déanaí, bhí Robert Ballagh ceann de na healaíontóir is cáiliúla in Éireann sa chaoi ina a mbeadh aithne ag gach duine ar a shaothair, fiú i ngan fhios dóibh féin. [11]

Saothair Ealaíon[athraigh | edit source]

  • Self-Portrait 1959 (16bln)
  • Maternity 1959 (olaí)
  • The Blessing 1959 (olaí)

Tagairtí[athraigh | edit source]

  1. http://www.royalhibernianacademy.ie/html/exhibitions/ballagh06.html
  2. Knowles, R., 1982, Contemporary Irish Art, Wolfhound Press, Mountjoy Sq. Dublin 1. lch 216
  3. Carty, C., 1986, Robert Ballagh, Magill, Merrion Row, Dublin 2. lch 28
  4. Carty, C., 1986, Robert Ballagh, Magill, Merrion Row, Dublin 2. lch 25-35
  5. Gallery, G., 2006, Robert Ballagh:Works from the Studio 1959-2006, Damien Matthews Fine Art, London. lch9
  6. Ballagh, R., 1981, "Dublin: Introduction by Ciaran Carthy" Dublin, Ward River Press
  7. Knowles, R., 1982, Contemporary Irish Art, Wolfhound Press, Mountjoy Sq. Dublin 1. lch 10/43
  8. Walker, D., 1997, Modern Art in Ireland, The Lilliput Press, Arbour Hill, Dublin 7. lch 76, 77
  9. Walker, D., 1997, Modern Art in Ireland, The Lilliput Press, Arbour Hill, Dublin 7. lch 93
  10. http://www.riverdance.com/the-show/meet-the-cast/meet-the-creatives/robert-ballagh/
  11. http://cristinleach.com/?p=527