December 5th, 2024: A new exhibition opens at the National Museum of Ireland, Collins Barracks today, showcasing six of Harry Clarke’s stained-glass panels, including some of his earliest known works.
A special collaboration between the National Museum and Crawford Art Gallery, the exhibition brings together panels not previously displayed in the same place before.
Three of the panels have travelled to the National Museum from Crawford Art Gallery, as it closes for its ambitious redevelopment project, ‘Transforming Crawford Art Gallery’. The exhibition, Harry Clarke’s-Stained Glass, will run for at least two years over the duration of the redevelopment project at Crawford Art Gallery.
Harry Clarke (1889 – 1931) is one of Ireland’s most renowned stained-glass artists and illustrators. His work is celebrated internationally for its originality of design and impressive technical skill, not least in Ireland where his work is present in 16 counties, mostly in churches.
The panels on display in Harry Clarke’s-Stained Glass each reveal Clarke’s distinct vision, inviting visitors into the world of religious and fantastical imagery that defined his career. They include:
- The Consecration of St. Mel, Bishop of Longford, by St. Patrick (1910)
- The Godhead Enthroned (1911)
- The Meeting of St. Brendan with the Unhappy Judas (1911)
- The Unhappy Judas (1913)
- A Meeting (1918)
- Richard Mulcahy (c. 1925)
Lynn Scarff, Director of the National Museum of Ireland, said,
“We are delighted to work with Crawford Art Gallery on this special collaboration. Over the period of its closure to enable the important and transformative redevelopment project, this exhibition will ensure that everyone can continue to access the exquisite Harry Clarke-Stained Glass panels that have been on display in the Crawford. Bringing them together with the glass from our own collection will give visitors a special opportunity to see these six panels together in one exhibition. We hope this display will invite new perspectives as well as bringing new visitors to Harry Clarke’s work, engaging wider audiences on the diverse and unique aspects of our national collection."
Mary McCarthy, Director of Crawford Art Gallery, added,
“We’re thrilled that the Harry Clarkes have a temporary new home at the National Museum of Ireland, where both new audiences and lifelong fans of Clarke’s work can enjoy them over the festive season and beyond. This loan ensures that these stunning works remain accessible to the public and demonstrates the strengths of collaborations between our National Cultural Institutions.”
Exhibition curator, Dr. Siobhán Doyle, Curator of Glass, Ceramics, and Asian Collections at the National Museum of Ireland said:
“We have created a fittingly striking exhibition space to be home to these beautiful Harry Clarke-Stained Glass panels for the duration of this exhibition. A darkened room, supported by complementary lighting, will ensure that the works can be enjoyed in all their glory. There is a magic around Harry Clarke’s work that fits with the upcoming festive season, and his work appeals to young and old. This will make for a wonderful visit for all the family, and we look forward to welcoming visitors of all ages to Collins Barracks.”
Admission to the exhibition is free. To celebrate the launch and as part of the Winter Lights Festival, the National Museum, Collins Barracks will open late tonight, Thursday December 5th and Thursday December 12th, and special curator guided tours of the exhibition will be provided on both evenings. Please note that space is limited, and places will be on a first come first served basis.
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- Media Contacts: Q4 Public Relations Sinéad McGovern 087 6411725 sinead@q4pr.ie // Sabrina d’Angelo 086 0323397 sabrina@q4pr.ie
- Press Photography will be issued by Julien Behal julienbehalphotography@gmail.com, 087 978 2542
- High-Res images of the panels are available here.
Notes for editor
More information on each panel on display:
On loan to the National Museum from Crawford Art Gallery
The Consecration of St. Mel, Bishop of Longford, by St. Patrick (1910) one of Clarke’s earliest stained-glass panels, which was completed while he was still a student at the Dublin Metropolitan School of Art. It depicts St. Patrick alongside his nephew, St. Mél of Ardagh. St. Mél stands humbly beside his uncle, who appears as a wise elder wearing a bishop’s mitre and crosier. Medieval metalwork and Romanesque stonework in the background evoke Ireland’s "Celtic Revival" period, while a banner above Mel’s head portrays a winged, crowned Mary, mother of Jesus.
The Godhead Enthroned (1911), also a gold medal-winning piece, presents a powerful Christ figure surrounded by symbols of the four Evangelists: a man, lion, ox, and eagle, each representing a Gospel. This panel exemplifies Clarke’s characteristic colour palette and the intricate, layered details that would become his hallmark. It offers insight into his early artistic vision and technical prowess.
The Meeting of St. Brendan with the Unhappy Judas (1911) panel that captures the moment St. Brendan and his crew encounter a ghostly, flame-encircled Judas. Clarke’s use of glass leading to enhance the drawing itself adds drama to the composition, reflecting his unique ability to convey emotion and narrative.
From the National Museum of Ireland’s collection
Also on display is The Unhappy Judas (1913) which shows Judas in a gripping encounter with the Angel of Death. Clarke’s vivid use of colour and symbolic detail brings intensity to the theme of betrayal and remorse, demonstrating his masterful approach to stained-glass artistry. This panel won Clarke his third consecutive gold medal at the Board of Education National Competition in London, reflecting Clarke’s emerging reputation as a leader in his craft.
In addition, A Meeting (1918), a delicate miniature panel inspired by Heinrich Heine’s ballad, demonstrates Clarke’s imaginative approach to literary themes. The piece depicts a mermaid and merman in an ethereal embrace, with Clarke’s innovative use of colour-layering techniques creating an otherworldly atmosphere. The deep blues and reds add vibrancy to the composition, underscoring Clarke’s signature style.
Rounding out the exhibition is a portrait of Richard Mulcahy (c. 1925), which shows a more conservative side of Clarke’s work that prioritises realism. This portrait of one of Ireland’s revolutionary leaders represents Clarke’s versatility and his connections across cultural and political circles. It was the same General Richard Mulcahy – the then Commander in Chief in the National Army - who gave Collins Barracks its name when it was surrendered to the Free State Army in 1922. It was named after his predecessor, Michael Collins, who had been killed just four months before.