Spirituality and scallywags at Whytes
Tribute to ragged end of the antiques trade
At Whyte’s, angst writ large features on the catalogue cover. Gerard Dillon’s 1952 portrait of his friend confirms everything the viewer might have suspected from the melancholy nature of so many of Daniel O’Neill’s canvases.
The unrelenting, defiant stance of the background figure, thought to be O’Neill’s wife Eileen, and the troubled countenance of O’Neill, paints a picture of a marriage destined to end in divorce. Portrait of...
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