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Further Quotes About
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Swift was an extremely independent personality – so much so, in fact, that he opted out of the art world in his thirties.
- Brian Fallon, 'The fall and rise of Patrick Swift', The Irish Times, June 11, 1992 (see below)
Probably no painter here since the Literary Revival has had a more central role in cultural life in the broader sense. And not only in Ireland either; Swift was a seminal figure in London too, even if the general public knew very little of him and indeed scarcely saw his work. He was a catalyst, an inspirer, a go-between creating links between painters and literary men, a propagandist for some major talents (including Francis Bacon) which fashion had not yet caught up with... There can be few Irishmen of his epoch, whether poets or painters or novelists, who are of such biographical interest and who touched their age at so many key points.
- Brian Fallon, 'The legacy of Patrick Swift', The Irish Times, Dec 2 1993 (see below)
A man who made his paintings talk... essentially Swift is not only an Irish painter but a European one... He may well be one of the greatest of Irish painters. When the dust has settled and the critics have had their say, the paintings will speak for themselves.
Until now most people in Ireland may have been unaware that Patrick Swift was still producing work of outstanding quality right up to the time of his death in Portugal in 1983. Indeed, many people may not have heard of him at all. Since his successful exhibition in the Victor Waddington Gallery in Dublin in 1952, he avoided the limelight... He moved from Dublin to London in the early 1950s and from there to Algarve, in Portugal, where he made his home for over 20 years.
He painted the people, the landscape and the trees in Portugal with an intensity and energy which communicates itself directly from the canvas. The impact is enormous. Great gnarled roots and branches in heavy impasto; greens, yellows and ochres, the colours of the seasons in the Portuguese landscape; figures emerge from twisted tree trunks, half hidden in the branches; men, earth and trees become part of an electrifying energy field. These paintings hold you and address you in a language so intimate and disturbingly personal that even if you don't know much about art you are aware you have been moved at a visceral level...
— Marion McDonald, Sunday Business Post, Feb 20 1994
Encouraged by the fact that Patrick Swift wrote an admiring article on Nano Reid, one artist in praise of another, which is published in the excellent book PS of course - Patrick Swift (Gandon Books), I dare to make a reciprocal gesture on Swift himself.
His exhibition at the Royal Hospital quite simply bowled me over, and I realised at once that I was looking at pictures by probably the most formidable Irish artist of this century — perhaps including Jack Yeats and his father. The early pictures, when Swift was close to Lucian Freud, show an influence from Freud, or possibly on Freud, and are, in his portraits, just as compelling as those of Freud.
At least one of the tree pictures shown in the exhibition reminds me of the early Miró farm pictures in their very precise and representational handling. Later, when Swift and his wife Oonagh went with their children to live in Portugal, he still painted trees, palms, and scrub with a broader brush technique of tremendous strength and with immediacy of invention. His drawings, too, are those of a master.
The dozen or so late portraits shown at Kilmainham or in the Gandon book have even more impact than the later Freud portraits have. The one of his mother and father, a huge picture showing them in a Connemara landscape, is a masterpiece; so are those of his mother alone and of Patrick Kavanagh. Some of the strongest contemporary portraits I have ever seen.
P.S.'s death from a brain tumour in Portugal, at the age of only 56, was a major tragedy. This is an exhibition not to be missed... Declan McGonagle, the director of the Irish Museum of Modern Art, is indeed to be congratulated on giving us all a chance to see such work. — Yours etc.
— Derek Hill in a letter to the The Irish Times, 24 January 1994
...his ability to communicate certain truths on what one senses to be a deeply spiritual level. It is perhaps this quality in his work which links Swift with the world of poetry and poets. Apart from close family members, poets were almost exclusively subjects of his portraits; the series of poet portraits shown at IMMA [1993 Retrospective] are quite exceptional by any standards and must place him among the very best Irish painters of the twentieth century.
— Wanda Ryan Smolin, Irish Arts Review, 1994
Although highly acclaimed in critical and artistic circles, the work of the Irish painter Patrick Swift has rarely been publicly exhibited... The vogue at the end of the 50s for abstract painting was not to his taste, nor could he work with academic realism. He sought an expression of life and human creativity which was meaningful and accessible, yet intensely personal, and inspired by emotion, by landscape. It seemed Ireland and England restricted him. Swift emigrated to Portugal in 1962. He later set up a pottery in the Algarve, whose part in the revival of the regional craft has been recognised. Here Swift made a huge contribution to the popularisation of the Algarve, and to the recognition of the beauty of Portugal's landscape, history and culture... These are some of his most resonant works, where he has found his voice, and in the invigorating new climate the change in his painting was towards an enhanced sensuous warmth, a sense of the integrity of light and a feeling of the integration with nature, of painter and viewer.
— Richard Morphet (Keeper, Tate Britain, from 1986 until 1998), in his introduction to the Patrick Swift exhibition at the Crawford Municipal Art Gallery in Cork, 2001
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Aidan Dunne
The Sunday Tribune
The lost hope of Irish art
Belated recognition for Patrick Swift, a painter born out of his time
James Joyce did it. Roderic O’Connor did it. Even the formidable Patrick Swift did it – leave, that is, the Emerald Isle for farther shores. But whereas Joyce’s fame mushroomed, Swift, like O’Connor, disappeared into relative obscurity as far as his homeland was concerned.
Again, like O’Connor, Swift was a considerable painter, yet after a spectacular debut he showed rarely in his lifetime and in the annals of contemporary Irish art he is, beyond a small number of people, virtually unknown.
A major retrospective at IMMA – extraordinarily enough, his first exhibition in Ireland since 1952 – should change all that…
Swift studied at the NCAD in the 1940s and, after a brief spell in Paris, set to work in Dublin with his friend Lucian Freud…
He was always down to earth in his treatment and subject matter, something of a kitchen sink painter even before the term was invented…
He moved to London, a melting pot of cultural and artistic ideas. At home in “the Bohemian jungle of Soho”, he partook of artistic and, always, literary life…
Enormous changes were afoot in the art world, however. Abstraction of one kind or another dominated post war Europe. Then there were the American Abstract Expressionists. Pop art was just around the corner.
Swift saw the kind of art that he made – more, the kind of artistic world within which he dwelled – under threat as never before. He was a representational artist through and through, in the Kokoschka mould. Fidelity to visual experience above all. But he saw the mere survival of this tradition as being under threat…
Yet the record of his own work suggests that he took an unduly alarmist view of contemporary developments. His paintings, for example, often went more than halfway towards abstraction inasmuch as there is a useful distinction to be drawn between abstraction and representation at all.
He had an analytical eye and many paintings are reminiscent not only of Cézanne, whom he greatly admired, but of Mondrian (before he had restricted himself to grids), whom Swift also, suprisingly enough, had a great deal of time for…
Swift departed for the Algarve in Portugal in 1962…
It certainly wasn’t early retirement. His 20 years in Portugal confirmed him as a man of exceptional energies…
Cézanne is the dominant influence on the work, including some monumental landscapes, that he made in Portugal (and on a visit to France in the 1970s). At their best these paintings have a bracing freedom and a fine grasp of underlying structure…
This exhibition should do much to restore him to his rightful place in the history of contemporary Irish art.
— Aidan Dunne, The lost hope of Irish art, The Sunday Tribune, Nov 28, 1993
The Irish Times, Aidan Dunne
Patrick Swift's portrait of Patrick Kavanagh, for example, is positively iconic. Painted in London in 1961, it is ambitious in scale and scope, giving an account of the writer as a monumental — though somewhat truculent — figure. No single viewpoint could give us the view of Kavanagh's head that Swift offers. It is as if he unfolds a conventional three-dimensional image in a quasi-cubist manner.
— Aidan Dunne, The Irish Times, 02 Dec 2006
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The fall and rise of Patrick Swift
Brian Fallon, The Irish Times, June 11, 1992
...Swift was one of the key Irish painters of his time, a fact which was appreciated here a generation ago and is gradually being realised again. A kind of personal legend has accumulated around him, which has even been felt by people who never met him.
I never met Swift myself — his Dublin career was before my time — but I did see him once, perhaps at some opening of the Living Art Exhibition. I remember a thin, dark young man with a saturnine, rather nervous look... His one and only exhibition in Dublin... made an immediate impression, and Swift was written up... in Time magazine.
Today, this would be the door to the kind of international reputation which every young art-college product slaves after... With Swift, however, it led to nothing remotely like that... And what is even stranger, he scarcely exhibited again except in group shows, and rarely even then...
Many people assumed he had stopped painting altogether...
...he belonged to the Patrick Kavanagh cénacle and was close friends of Anthony Cronin, Pearse Hutchinson, Ralph Cusack and other literary or arty personalities who centred around Bell and Envoy and McDaid’s pub. He painted portraits of most of these and seems to have been regarded by them as “their” painter, though this appears to have been more a matter of friendship and appreciation than of coterie solidarity. Swift was an extremely independent personality – so much so, in fact, that he opted out of the art world in his thirties...
A peculiarity of this epoch, both in Dublin and London, was the mingling of writers and artists and their interaction on each other. From early on Swift was associated with literary magazines...
In London Swift, almost inevitably, moved into the Soho bohemia which included Francis Bacon, Lucian Freud, George Barker, W.S. Graham, John Minton, William Crozier... Again, he painted portraits of several of these men, most of which were never shown in public...
The Soho intelligentsia tended to drink too much and to live on its nerves; a number of promising painters of Swift’s own generation could not take the pace they had set themselves, and ended as alcoholics or even as suicides. Swift simply broke with it all, moving his family to Portugal in 1962...
I remember a few works by him being included in (I think) a group show by the Independent Artists in Lower Abbey Street, about twenty years ago — Portuguese landscapes, but I have lost the relevant catalogue and have not been able to check on this. He was also represented in the Irish Imagination which formed a section of the 1971 Rosc Exhibition...
He also illustrated a number of books, including a guide to the Algarve region of which I once owned a copy (vanished, alas); another commission was for Heinrich Boll's German translation of The Hard Life by Flann O'Brien...
Swift paid a visit to Dublin a few years before he died, for his daughter’s wedding, and took notes and photographs of Co Wicklow landscapes for some large paintings he was planning. His family originally had come from Wicklow to Dublin...When he died, there were stirrings of interest in his career, but nothing more.
Since then this interest has grown rapidly — not only in Swift, but in the entire milieu he emerged from. Last year’s Edward McGuire exhibition added fuel to it, since McGuire’s starting point as an artist was Swift’s work, a fact which he himself repeatedly acknowledged...
I suspect that another chapter in Irish art will have to be rewritten when the 1993 exhibition finally takes shape.
— Brian Fallon, The Irish Times, June 11, 1992
The legacy of Patrick Swift
Beian Fallon, The Irish Times, Dec 2, 1993
…probably no painter here since the Literary Revival has had a more central role in cultural life in the broader sense. And not only in Ireland either; Swift was a seminal figure in London too, even if the general public knew very little of him and indeed scarcely saw his work. He was a catalyst, an inspirer, a go-between creating links between painters and literary men, a propagandist for some major talents (including Francis Bacon) which fashion had not yet caught up with…
His closest friend and associate was the South African poet David Wright, and between them they founded the magazine X, which ran from 1959 to 1961 — a mere two-and-a-half years, but its importance was out of all proportion to its lifeline. Giacometti (who Swift had met in Paris in 1953), Beckett, André Masson, Kavanagh, Barker, John McGahern, were among its contributors, and among the painters featured were Bacon and Auerbach, both relatively obscure figures at the time...
Yet Swift seems to have made little effort to exhibit in London during these years, though he painted steadily — portraits, landscapes, views from his studio window, still life. Perhaps he felt increasingly hemmed in by London, perhaps the new climate of the Sixties alienated him, perhaps he felt he had done all he could achieve there and needed a radical break; in any case, in 1962 he moved with his wife Oonagh and their children to a village in the Algarve region of Portugal...
Like many of the brighter people of the time, he had gone to Synge Street School, where John Jordan and Pearse Hutchinson were contemporaries…
Swift had a strong personality, with a clear, cultured mind and articulate views, and Dublin has never forgotten either the man or his work, though for years both were absent and out of fashion…
A full-length life of Swift himself cannot be long delayed; apart from his inherent gifts as a painter, there can be few Irishmen of his epoch, whether poets or painters or novelists, who are of such biographical interest and who touched their age at so many key points.
— Brian Fallon, The Irish Times, Dec 2, 1993
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Swift now enjoying the fame he shunned
The Irish Press
'It's not so much that he was a recluse, it was much more a case that he was out of sympathy with the prevailing mood of the art world at the time', explains Declan McGonagle of the Irish Museum of Modern Art...
'The art world was all about being seen and being out there in the market, whereas he believed that the artist's job was separate from that', explains McGonagle. 'He felt painting was about the inner self, about describing emotional or spiritual changes'...
- The Irish Press, Dec 3, 1993
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He painted the trees and gardens he cherished and the people he loved; because he was, happily, not unduly concerned, a style that came naturally to him shortly became his own distinctive 'style' — his signature — as uniquely his own as the subject content. Swift's peculiar style reminds us of nobody but the artist — a telling point with a painter who has set no store on this aspect of the job. In Swift we have, then, a man with an observation that is both curious and affectionate — for his attention to details in his subject is paternal and not academic.
— John Ryan, Rosc Catalogue, 1971
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Freud had already shown in London and Paris when he came to Dublin in 1948 [most likely when Swift and Freud first met], partly on a pilgrimage to Jack B Yeats, who had just enjoyed a retrospective at the Tate; and whom Freud declared the greatest living painter… Freud seemed closest to artist Paddy Swift…In September 1951 Kitty Garman wrote to her mother…She mentions Freud working on a painting in Paddy Swift’s Hatch Street studio, Dead Cock’s Head 1951, painted on the same red velvet chair as Swift’s Woodcock 1951. Anthony Cronin recalls the two men painting side-by-side when he stayed in Hatch Street c.1950, Freud more obsessed by surface and detail than Swift.
— Mic Moroney, 'Lucian Freud: Prophet of Discomfort', Irish Arts Review, 2007
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Now I am bound to admit that though not devoid of ambition in the graining, lettering and marbling line, my real talents lay not in painting. My father and grandfather were painters, and at an exhibition of Patrick Swift's, Victor Waddington remarked that of all present my father was the only painter with a Union Card. My granny was forewoman gilder at Brindley's of Eustace Street and on my mother's side the Kearneys were and are similarly engaged. For all that, maybe because of that, I am allergic to painting. Not to paint mark you. But to putting the stuff on.
— Brendan Behan, Confessions of an Irish Rebel, p.155, 1965
Dear Hemmingway Ryan,
A strange thing – I was thinking of Swift and Cronin and all when I saw this – I shed a tear of tequila into my vaso.
F Scott Behan
I’d better say ‘Kavanagh would loved the place’ – I’m quite sure he wouldn’t – I hope he’s well.
— The Letters of Brendan Behan, E.H. Mikhail, November 27, 1991; a postcard from Tijuana, Mexico, to John Ryan, dated 12 July 1961; the Murals of Diego Rivera printed on the postcard; note: By the mid 1950s Patrick Swift and Anthony Cronin refused to speak to Behan due, in their view, to Behan's ill treatment of Kavanagh.
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Letter from Patrick Kavanagh to his brother Peter
Got your latest letter today. P. Swift sent poems to David Wright, Editor Nimbus also co-Editor Faber Book of 20th Century Verse. He said: 'I am incoherent with enthusiasm, he is not an Irish poet, he is the Irish poet. This is the goods. All my life I have been wrong about P.K.'
Obviously, Macmillan's have made a balls of themselves for the poems will get published.
— Patrick Kavanagh, Sacred Keeper, Biography by Peter Kavanagh, p.298, The Goldsmith Press, 1979
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Patrick Kavanagh: A Biography
Antoinette Quinn
...his meeting with Claire McAllister in late spring 1948... she had come to Europe to study and was visiting Dublin from Paris... Their paths did cross again, for Claire moved to Dublin in 1949. Alas for Kavanagh, she soon became the live-in partner of one of his new friends, the talented young painter Patrick Swift...
Envoy, launched in December 1949 under John Ryan's editorship, rather than being socially orientated like The Bell, had a cultural mission to present all that was outstanding and genuinely creative in Irish art and to bring the best in international writing and art to the attention of Irish readers... Ryan recruited some of the liveliest and most progressive Irish or Ireland-based writers, intellectuals and artists...
Every month his 'Diary' appeared...
Around one o'clock the Envoy office would empty itself into John McDaid's...where much of the journal's business was conducted. The clientele was a mixture of working class and bohemian... Kavanagh had not patronised McDaid's in the past, but from now on he adopted it as his city-centre local...
His association with Envoy brought him into contact with a circle of young artists and intellectuals. Chief among these, apart from John Ryan himself, were Anthony Cronin (1928- ), Patrick Swift (1927-83) and, to a lesser extent at first, John Jordan (1930-88). Cronin and Swift would remain his friends, allies and promoters until the early sixties, Ryan and Jordan for the remainder of his life...
Patrick Swift came to prominence as a painter at the Irish Exhibition of Living Art in 1950, when one influential critic rated him the most promising of the newcomers. Kavanagh had at first dismissed the 23-year-old artist as a phoney because he was something of a dandy... he may have been further irritated by Swift's annexing of Claire McAllister as his live-in partner... Swift and 'Marmalade', as she was known because of her red hair, were a couple by April 1949. According to Swift, Kavanagh at their first meeting denounced him as 'nothing but a gurrier and a fucking intellectual fraud'. After this, Swift kept his distance. Some months later he was lunching with Patrick MacDonogh, poet and Guinness rep... as soon as MacDonogh left he joined Swift at the counter and asked what he was doing 'with that fraud MacDonogh?'. 'You shouldn't be wastin' your time with fucking phoneys like that. I've been thinking about you and I think you may well be the real thing!' It was a gambit to have a drink bought for him, but the two got talking and the friendship took off. Swift's love of Auden's verse — he knew quantities of it off by heart and loved reciting it — rekindled Kavanagh's enthusiasm for its contemporary images and idioms... While by no means blind to Kavanagh’s faults, Swift believed in his genius and indulged him and, since he was not an artistic rival, the older man did not feel threatened and came to lean on Swift as a beloved nephew...
...Despite the age gap between him and this group of twenty-somethings Kavanagh was adopted by them... Brendan Behan dubbed him 'the King of the kids'...
The young writers and painters he was meeting through Envoy tended to be European in their artistic and intellectual interests. The Irish writer they most respected was James Joyce... The young writer with whom Kavanagh was to maintain a very public feud unto the death was Brendan Behan (1932-64). At first there was no friction between them. Kavanagh looked on Behan primarily as a house painter who dabbled in literature... By the end of 1950 the enmity between the two writers was so bitter that it was difficult to credit they had ever been on friendly terms...
Since both men drank in McDaid's from 1950 onwards, relations rapidly turned sharply antagonistic. Between 1950 and 1953 Behan developed into an alcoholic... Behan, who was over twenty years Kavanagh's junior, initiated hostilities by telling him to his face in McDaid's the he was a failure. There was a great deal of sympathy for the poet because the taunt had a ring of truth to it; he had no regular employment other than his 'Diary' and was publishing very little poetry...
In conversation with Anthony Cronin, Kavanagh sometimes referred to his Envoy phase as a time of poetic rebirth...
...1956... Oonagh and Patrick Swift, who had been living in London since November 1952... were back in Dublin for the forthcoming birth of their first child. Kavanagh had stayed with the couple in London and was very taken with Oonagh. He insisted in squiring her to Waiting for Godot at the Pike Theatre...
Kavanagh and Swift had resumed the close friendship they had enjoyed in the Envoy years. When Katherine (Kate) Swift was born, the obstetrician was presented with a lithograph of the poet. Swift, brimming with ideas and intellectual activity as ever, was soon directing some of his energy into masterminding the more passive Kavanagh's career. Macmillan's rejection had left him very downcast...
Patrick Swift was invited to peruse the contents and decided that the poems should be published. He had to return to London in late February but persuaded Kavanagh to entrust the precious typescript to his brother, Jimmy, to have three copies professionally typed up... sent one copy each to David Wright and Martin Green in London and presented the third to the poet...
At this time the poet David Wright, a friend of Patrick Swift's whom Kavanagh had known since autumn 1952, was co-editor with Tristram Hull of Nimbus... Patrick Swift relayed his comments: 'I am incoherent with enthusiasm; he is not an Irish poet, he is the Irish poet. This is the goods. All my life I have been wrong about PK.'...
Kavanagh was quite proud of his new status as lecturer in the Extra-Mural Studies Department of University College Dublin. In the spring of 1956 he decided to publicise his role by giving a series of ten lectures... the audiences began to dwindle... There was a large crowd for a few weeks, then the numbers began to fall off. Before he went back to London in late February, Patrick Swift had asked his brother to attend the lectures and to bring others along, so that the series would not collapse...
Nimbus published 19 poems... Publication there was to prove the turning point... the publication of his next volume of verse, Come Dance with Kitty Stobling, was to be directly linked to the mini-collection in Nimbus, and his Collected Poems (1964)...
...October 1959... He stayed with Oonagh and Patrick Swift, who were renting the garden flat of 9 Westbourne Terrace, a large Victorian house where Elizabeth Smart and her children lived on the top floor... the flat at 9 Westbourne Terrace was itself a mini-Soho... Kavanagh felt better than he had in years. Writing about this visit to the Archbishop, he presented Leland Bardwell's and the Swift's flat, where tipsy writers talked into the small hours, as 'enclaves of enthusiasm and love which give physical as well as mental health'....
Patrick Swift and David Wright were launching a new journal, X, in late November; he had two poems, 'Living in the Country' and 'Lecture Hall', in the first number and one of his reasons for being in London was to share in the excitement of his friends' new venture...
When the Arts Council returned the typescript of The Forgiven Plough on 20 November, having decided against publication, it would only have confirmed Kavanagh's view that his future lay in London. He was back there for Christmas, his third visit in two months. Katherine was the magnet, of course, but with Leland Bardwell, Anthony Cronin, Elizabeth Smart, Patrick Swift, David Wright and an expanding circle of Soho writers and artists to fraternise with, he had nearly as many friends in London as in Dublin. 'A Summer Morning Walk' recalls his drinking binge that Christmas and the attendant hangovers in the 'Paddington crater' (the Swifts' basement flat at 9 Westbourne Terrace):
Lying on a bed in a basement, unable
To lift my sickness to a fable,
Hating the sight of a breakfast table.
On Christmas Day stretched out, how awful
Not heeding the Church's orders lawful
While everyone else is having a crawful.
It is black all round as terror stricken
I climb stone steps, trying not to weaken,
My legs are taking a terrible licking...
I was as sick as the devil's puke...
In a draft version of this poem, he makes his way to the George on Christmas Day to meet the blind poet John Heath-Stubbs and is joined by David Wright, George Barker and an unnamed Soho queer...
Much of 1960 was spent to-ing and fro-ing between Dublin and London... In London he generally stayed with the Swifts'...
— Antoinette Quinn, Patrick Kavanagh: A Biography, Gill & Macmillan, 2001
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On 19 July the Dublin-born painter PATRICK SWIFT died at his home in Portugal. He was 56. Among his closest friends — and the subjects of his best portraits — were a number of poets of his generation, and he was a familiar figure in the post-War 'Fitzrovia' circles that included David Wright, George Barker, Patrick Kavanagh and others. In 1959 he founded the magazine X with David Wright. Through X, Swift did for some of his younger contemporaries what David Wright was doing for the poets. He presented their work and attacked the fashions that stood in the way of a proper appreciation and valuation of the figurative work of some of them. In 1962 Swift left England for the Algarve. As well as collaborating in the establishment of Porches Pottery, he wrote books and continued his design work and painting. In his partnership with David Wright, this exemplary artist contributed substantially to the world of poetry.
— P.N. Review, News & Note, PN Review 34, Volume 10 Number 2, November - December 1983
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