‘Old Ireland and Himself’: William Orpen and the Conflicts of Irish Identity

Abstract

The Irish painter William Orpen (1878-1931), defined here as Ireland’s most ‘Spanish’ painter, was out of fashion for fifty years after his death; but he has recently been dramatically revalued, with his works fetching huge prices in salerooms and an unprecedentedly large exhibition of his work being mounted in London and subsequently Dublin. Best known for his Edwardian portraits and his devastating paintings of the First World War, he also produced a series of allegorical paintings of his native Ireland. These are discussed in this article, and linked to his admiration for J.M.Synge, his dislike of clericalism and repression in Irish life, and his celebration of sensuality. The same themes lie behind ‘Homage to Manet’, a celebrated group portrait which includes the Irish novelist George Moore and the art collector Hugh Lane —a close friend of Orpen’s. Orpen knew other figures of the cultural Revival, and his relation to them is discussed; as is the conflict of identity he experienced (like other middle-class Irish Protestants) when the radicalisation of Irish politics and the outbreak of the First World War put a new strain on the allegiances of people who had previously thought of themselves as both ‘British’ and ‘Irish’. After the trauma of the War, and Irish separation, Orpen opted for Britain; but, it is argued, he was closer to elements of the Irish cultural revival, and more involved with Irish politics and Irish history, than is usually accepted.