Evie Hone, HRHA (1894-1955)
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Evie Hone, HRHA (1894 -1955)
"Abstract Painting"
Gouache, 7" x 7½"
"Abstract Painting"
Gouache, 7" x 7½"
Evie Hone first studied art at the Byam Shaw School of Art in London, and then with the British artist Bernard Meninsky at the Central School of Arts & Crafts. She later studied at the Westminister School of Art in London under Walter Sickert. In 1917 she met fellow Irish artist Mainie Jellett, who was also a student of Sickert’s and the two were to become lifelong friends. From 1920 to 1931 they spent a few months every year studying in Paris, with the French cubist artist, Andre Lhote. They also became pupils of Albert Gliezes, one of the original Cubist artists, and for part of each year until 1931, they travelled to France and assisted him in developing his principles of abstract painting.
In 1924, Evie Hone and Mainie Jellett held a joint exhibition of abstract paintings in the Dublin Painter’s Gallery. This exhibition didn’t receive a favourable critical reaction, however it established both artists as pioneers of modern art in Ireland. The following year Evie Hone abandoned painting altogether and joined a community of nuns in Cornwall. However a year later, she returned to painting, her work was now more figurative in style and brighter in colour. At this time both Evie Hone and Mainie Jellett were elected members of the group “Abstraction Creation” in Paris. They also exhibited at the Salon des Independents, the Salon d’Automne and the Salon des Surindependents. Evie Hone was also elected a member of the “7 & 5 Society” in London in 1926, where she regularly exhibited until 1931.
In the early 1930’s she made the move from painting to stained glass. She was inspired by her visits to the cathedrals at Chartres and Le Mans, and her work of this period was very much influenced by the artist, George Roualt, with flat blocks of colour and bold black outlines. In 1933 she joined An Tur Gloine, the stained glass studio established by fellow Irish artist, Sarah Purser. It was here under the guidance of Michael Healy that she learned the skills of working with glass, and soon established a reputation for her innovative designs and skilled technique.
As a stained glass artist, Evie Hone was hugely successful with over fifty commissions both in Ireland and abroad. In 1937, she converted to Catholicism, and from this time on, her work became more religious in character. In 1939 she was chosen to design a stained glass piece for the Irish pavilion at the New York World Fair, where she was awarded first place for a work in stained glass, which helped to consolidate her reputation as a stained glass artist. In 1944, An Tur Gloine closed down and Evie Hone set up her own studio in Marlay Grange in Dublin. Some of her finest stained glass work was completed in the late 1940’s such as the commission for the Church of the Immaculate Conception in Cavan. Her work there and in the church at Tullabeg helped her to secure a commission for the east window at Eton College, which she completed in 1952. This work gained her international recognition and ranked her as one of the foremost stained glass artists of her time. In addition to her stained glass work, she also regularly exhibited her own paintings and designs at the Royal Hibernian Academy annual exhibitions in Dublin. Evie Hone is now represented in all of the major public art collections in Ireland, and is regarded as one of the most important Irish artists of the twentieth century.
In 1924, Evie Hone and Mainie Jellett held a joint exhibition of abstract paintings in the Dublin Painter’s Gallery. This exhibition didn’t receive a favourable critical reaction, however it established both artists as pioneers of modern art in Ireland. The following year Evie Hone abandoned painting altogether and joined a community of nuns in Cornwall. However a year later, she returned to painting, her work was now more figurative in style and brighter in colour. At this time both Evie Hone and Mainie Jellett were elected members of the group “Abstraction Creation” in Paris. They also exhibited at the Salon des Independents, the Salon d’Automne and the Salon des Surindependents. Evie Hone was also elected a member of the “7 & 5 Society” in London in 1926, where she regularly exhibited until 1931.
In the early 1930’s she made the move from painting to stained glass. She was inspired by her visits to the cathedrals at Chartres and Le Mans, and her work of this period was very much influenced by the artist, George Roualt, with flat blocks of colour and bold black outlines. In 1933 she joined An Tur Gloine, the stained glass studio established by fellow Irish artist, Sarah Purser. It was here under the guidance of Michael Healy that she learned the skills of working with glass, and soon established a reputation for her innovative designs and skilled technique.
As a stained glass artist, Evie Hone was hugely successful with over fifty commissions both in Ireland and abroad. In 1937, she converted to Catholicism, and from this time on, her work became more religious in character. In 1939 she was chosen to design a stained glass piece for the Irish pavilion at the New York World Fair, where she was awarded first place for a work in stained glass, which helped to consolidate her reputation as a stained glass artist. In 1944, An Tur Gloine closed down and Evie Hone set up her own studio in Marlay Grange in Dublin. Some of her finest stained glass work was completed in the late 1940’s such as the commission for the Church of the Immaculate Conception in Cavan. Her work there and in the church at Tullabeg helped her to secure a commission for the east window at Eton College, which she completed in 1952. This work gained her international recognition and ranked her as one of the foremost stained glass artists of her time. In addition to her stained glass work, she also regularly exhibited her own paintings and designs at the Royal Hibernian Academy annual exhibitions in Dublin. Evie Hone is now represented in all of the major public art collections in Ireland, and is regarded as one of the most important Irish artists of the twentieth century.