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T A G  S A L E S

Jack Butler Yeats 1871-1957



Stand From Under

Oil on board 9 x 14 inches
Signed by the artist lower left
Title inscribed verso

Provenance:
Victor Waddington Galleries;
G. E. Hetherington, Dublin, 1948;
Adams Salerooms, Dublin, 15 December 1988;
Waddington Galleries, London;
Private collection, Ireland.
Literature:
Hilary Pyle,‘Catalogue Raisonné of the Oil Paintings’ André Deutsch, London, 1992, no.912;
T. G Rosenthal, ‘The Art of Jack B. Yeats’, André Deutsch, London, 1993, no.88, illustrated p.127.

‘Memory into Poetry’, perhaps the most important chapter in Pyle’s biography, lays the ground for understanding Yeats and his work. ‘Yeats always believed that paintings should be of incidents witnessed by the artist, and he insisted on the instantaneous quality of a painting, the event recurring: “each painting is an event.... A creative work happens." The 'half-memory' paintings of the middle and late periods invariably refer to some particular incident in the past, or look to past events experienced emotionally by the artist. The latter half of the nineteenth century was the heyday of the small circus, the minor music hall, the travelling melodrama players, of amateur boxing and races, of the minstrel and the thrill of the Wild West: and Yeats looked to those days in retrospect, enjoying fully the adventurous characters whom he knew from seeing them in the flesh, or from reading books.’

Memories of his childhood days in Sligo are relived in his paintings. Shipping, docklands and seafaring characters appear regularly. The main character in Stand From Under first appears in The Breaker Out, a dockland painting from 1925. According to Yeats, he is the man who signals to the crane driver exactly where and when to lower the packages on to a boat “so as not to crush everyone to death” and his warning shout might well have been ‘stand from under’. The breaker-out in the current work is a colourful type, modelled on a character who made his first appearance in The Coal Boat, a Dublin docklands scene painted in 1929. Clasping a rope from the crane in his right hand, the breaker-out traps a noose under his foot, ready for the next package, as two deckhands watch from the hold.

However, by 1948 Yeats was no longer recording everyday dockland scenes. Instead, he plays out his nostalgic emotions, joys and fears on canvas. He broods on his loneliness in the Banquet Hall; shows his desperation in the Collapse of the Great Tent; makes profound statements in works such as Each Man’s Thoughts are his Own and, in Stand From Under, dares himself idiomatically to face his own fears and challenges the viewer to do the same.

Price on application: dominick@mpfa.ie


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# 353 1 269 3486 - Email dominick@mpfa.ie

Private Dealers in Fine Irish and European Paintings
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