‘Dark Beauty and Almost Spectral Luminosity’ — the Art of Harry Clarke
An artist whose haunting work was itself haunted — by the death of one icon, by the exile of another, and by the knowledge of his own mortality.
The Geneva Window (1930) was originally commissioned to be installed at the International Labour Court in Geneva at the behest of the Irish government, but was ultimately turned down on grounds of indecency. Figures from Ireland’s literary past are depicted in brilliant deep blues, vibrant reds, and a virtuosic cavalcade of detail. It’s a daring piece of work where history and fiction overlap: mistresses cavort in transparent gowns; naked imps lead willing women into sexual acts, alcohol is ever-present. The large stained glass work now hangs in the Wolfsonian Museum in Miami.
Amongst the eight dazzling panels, hidden in a corner as if in hope that no-one would notice their presence, are three figures: a ghostly character from the 1922 horror film Nosferatu; behind him, the gaunt wide eyes of Oscar Wilde, barely visible above the shoulder; and at the front, an addled Dracula-like figure, skin as discoloured as the absinthe in his hand. This third figure is the Irish artist Harry Clarke, and this window is considered his final masterpiece.
