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Erskine Nicol , Scottish, 1825-1904

Title

The 16th, 17th (St Patrick’s Day), and 18th March

Date1856

MediumOil on canvas

Dimensions

79 x 131.7 cm

Signedlower right: E. Nicol 1856

Credit LinePurchased, 2008

Object numberNGI.2008.97

DescriptionThis painting comprises cameos (dancing, lovers’ trysts, music making, storytelling, hawking etc.) that appear as subjects in their own right in other works by Nicol. Though St Patrick’s day was not declared a national holiday until 1900, and remained for most of the Irish population in the mid-nineteenth century principally an event in the liturgical calendar, Nicol has depicted it as an opportunity for commercial enterprise and revelry. This is emphasised by the fact that a woman to the right, enjoying the amorous approaches of the young man beside her, is sitting on a set of rosary beads, while the church that dominates the background is, unlike the pub, conspicuously shut. The church is St Doulough’s, near Malahide, painted years later by Nathaniel Hone.
Nicol travelled to Ireland for the first time in 1846, and during that initial sojourn of four years worked as an art teacher in Dublin. He returned on numerous occasions, and in 1862 established a studio on Clonave, an island on Lake Derravaragh, County Westmeath, which served as a retreat for him for many years. Nicol is closely associated, with good reason, with pejorative, theatrical depictions of Irish peasants. However, a more detailed examination of his work and relationship with ireland suggests an occasionally more serious and compassionate approach.

March 2016

InscriptionInscribed on label verso, along with address 1, Blenheim Pl., Edinburgh
ProvenancePurchased, Gorry Gallery, Dublin, 2008Exhibition HistoryRoyal Scottish Academy, Edinburgh, 1856

An Exhibition of 18th - 20th Century Irish Painting, Gorry Gallery, Dublin, 2008


Label TextThough Saint Patrick's Day remained for most of the Irish population in the mid-nineteenth century principally an event in the liturgical calendar, Nicol depicted it here as an opportunity for commercial enterprise and revelry. This is emphasised by the fact that a woman to the right, enjoying the amorous approaches of a young man, sits on a set of rosary beads, while the church in the background is conspicuously shut. Nicol maintained a close and longstanding relationship with Ireland, but is often associated with theatrical, and often pejorative, depictions of Irish peasants.