John Hogan (sculptor)

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John Hogan depicting a plaque dedicated to him on the facade of Parish Hall in Tallow

John Hogan (born October 14, 1800 in Tallow , † March 27, 1858 in Dublin ) was an Irish sculptor . He was particularly influenced by his time in Rome from 1824 to 1849 and was one of the most important Irish representatives of the neoclassical style in the 19th century. His good contacts with the Catholic clergy in Ireland and several art patrons in Dublin, which he cultivated during his numerous visits to his homeland, secured him numerous commissions in the 1840s, his creative zenith.

Life

Hogan was born in County Waterford on October 14, 1800 . However, his family moved to Cork just a few months later , where he spent his childhood. After a short time as a legal assistant, which he did not enjoy, he was hired in 1818 by the architect Thomas Deane, whom his father knew from his work in the construction industry. His talent for drawing and his talent as a wood carver quickly became apparent . During this time, the Academy of Art in Cork reached one of Antonio Canova produced and Pius VII. , Donated cast collection of antique sculptures Hogan prompting, they carve in wood. One of his earliest commissions came in 1822 from his patron and Bishop of Cork, John Murphy († 1847), who included 27 statues of saints and the Last Supper according to Leonardo da Vinci for the choir area of the cathedral in Cork. This series stayed there until 1965 when it was removed due to modernization and has since disappeared. In August 1824, a torso created by Hogan caught the eye of the artist Paul Carey in the Cork art gallery , who was so impressed that he introduced Hogan to Baron de Tabley , who then, together with other supporters of the Royal Irish Institution Hogans, founded in 1813 and dedicated to art Financed trip to Rome to give him the opportunity to complete his education there.

Portrait of John Hogan with his sculpture The Drunken Faun in the background

On April 11, 1824, Hogan arrived in Rome, contacted the Irish College and was supervised by Luigi Gentile (1801–1848), a student of Ercole Consalvis interested in art . Hogan studied at various schools in Rome and then opened a studio at the Royal Irish Institution with the financial help of his Irish patrons . His first sculptures made from Carrara marble included Italian Shepherd Boy , The Drunken Faun, and Dead Christ . Hogan first traveled from Rome to Dublin in 1829. That same year, the Catholic Irish had regained their religious freedoms with the Catholic Emancipation Act . This led to a building boom in numerous Catholic churches and an increased demand for religious art, which only came to a standstill with the great famine from 1845. The exhibition of Hogan's works at the Royal Irish Institution attracted many visitors and was a great success. Hogan was especially known for Dead Christ , which was bought for £ 400 for St. Theresa, a Carmelite church in Dublin. During the visit, Hogan became acquainted with the Archdeacon and Parish Priest Flanagan of the Church of Nicholas of Myra in Dublin. Flanagan commissioned a Pietà and two flanking angels. Hogan later only used plaster of paris , never marble. The Pietà stood in his studio for years and contributed to his reputation in Rome. The Pietà later came to Dublin and has since been in the church above the high altar on a pedestal provided for it.

In the fall of 1832, Hogan came to Ireland a second time and on that occasion received a gold medal from the Cork Society of the Promotion of the Fine Arts . In London, he attended the Royal Academy of Arts , where he presented his second sculpture, The Dead Christ , intended for Cork , which was then installed in the South Church of Saint Finbarr in Cork. In contrast to the first version, the crown of thorns and cross nails were added to this sculpture .

A competition for a statue in memory of Bishop James Doyle, who died in 1834, was won by Hogan in 1837 and he completed the statue in marble in 1839. When Hogan came to Dublin for his third visit in June 1840, the statue was on display in the Royal Exchange (now Dublin City Hall), which, with its neoclassical design, served as an ideal setting. Today the sculpture stands in the south aisle of the cathedral in Carlow . The visit brought him a total of six new assignments, including a. Sculptures to commemorate John Brinkley († 1835), astronomer at Trinity College and later Anglican Bishop of Cloyne , Jeanette Farrell († 1838) and Thomas Drummond († 1840).

The visit in 1843 was also very successful, when he first arrived in Cork, then traveled on to Dublin, where he received numerous other commissions, including a. Busts of the then reigning Archbishop of Dublin Daniel Murray († 1852), and a statue of Daniel O'Connell on behalf of the Repeal Association he founded , which was completed in 1846 and was the most important public commission. The Irish branch of the Loreto Sisters commissioned the neo-Gothic abbey church in Rathfarnham, initially designed by AWN Pugin in 1839 and then implemented by Patrick Byrne and John B. Keane , to create a Pietà for the high altar with two flanking angels. From the same house in 1844 an order for the birth of Christ for the high altar of the house in Dalkey followed .

During the pontificate of Pius IX. the papal state was increasingly threatened by revolutionary forces. In 1847, Hogan initially joined that of Pius IX. founded vigilante group, but then had to flee from the revolution at the same time as the Pope . In 1849 Hogan returned briefly to Rome, left the work there to his assistant Restaldi to complete and then arrived in Dublin on August 25, 1849 with his family. He settled on Wentworth Place , which was later renamed Hogan Place in his honor . His return was recognized in Dublin University Magazine in January 1850 , which recognized him as a continent celebrity who was little known outside of a small circle in Ireland. One of the first commissions in Dublin was a statue of the Irish young Irishman Thomas Davis, who died early in 1845 , which was completed in 1845 and which initially stood by his grave, but was later moved to the statues of O'Connell and Drummond in the entrance hall of the City, also created by Hogan Hall in Dublin. He died in his home in Dublin in 1858 and was then buried in Glasnevin Cemetery .

plant

Hogan's most famous work and also his masterpiece are the three versions of the statue of The Redeemer in Death or The Dead Christ , made from Carrara marble . The first version from 1829 is now in St. Therese's Church in Dublin, the second version from 1833 in St. Finbarr's Church in Cork and the last version from 1854 in the Basilica of St. John the Baptist in St. John's (Newfoundland) . With this work, Hogan laid the foundation for his international reputation in 1829. Afterwards his works were bought up by Irish bishops who visited his studio in Rome. The Danish sculptor Bertel Thorwaldsen described Hogan as the best sculptor after him in Rome:

Quote:

"The best sculptor I leave after me in Rome"

  • First version in St. Thereses´s Church in Dublin

  • Second version in Finbarr's Church in Cork

  • Third version in the Basilica of St. John the Baptist in St. John's (Newfoundland)

Other works by Hogan are:

  • Sleeping Shepherd
  • The Drunken Faun
  • Father Matthew , a bronze statue by O'Connell
  • Dr Doyle , Bishop of Kildare
  • Daniel O Connell

Awards

  • Gold Medal from the Cork Society of the Promotion of the Fine Arts (1832)
  • Royal Dublin Society Gold Medal (1836)

literature

  • Benmore: Memorials of John Hogan, the great Irish sculptor, 1800-1858 . Glenarm, 1927.
  • Our Portrait Gallery. – No. LVII . John Hogan. In: James McGlashan (Ed.): Dublin University Magazine . tape XXXV , January 1850, p. 72–81 ( limited preview in Google Book search).
  • S. Atkinson: John Hogan . In: The Irish Quarterly Review . tape VIII , July 1858, p. 493-588 ( limited preview in Google book search - the author is based on Turpin 1980, p. 12).
  • John Thomas Gilbert:  Hogan, John . In: Sidney Lee (Ed.): Dictionary of National Biography . Volume 27:  Hindmarsh - Hovenden. , MacMillan & Co, Smith, Elder & Co., New York City / London 1891, pp. 81 - 82 (English).
  • Maura Prunty: John Hogan: Greatest of Irish Sculptors . In: The Irish Monthly . tape 78 , no. 919 , January 1950, p. 41-43 .
  • John Turpin: John Hogan and the Catholic Religious Revival . In: The Maynooth Review . tape 5 , no. 1 , May 1979, pp. 64-70 .
  • John Turpin: John Hogan in Dublin . In: Dublin Historical Record . tape 34 , no. 1 , December 1980, p. 2-14 .
  • John Turpin: John Hogan: Irish Neoclassical Sculptor in Rome, 1800-1858 . a biography and catalog raisonné. Irish Academic Press Ltd., Blackrock 1982, ISBN 0-7165-0212-7 .
  • John Turpin: John Hogan . In: Paula Murphy (ed.): Sculpture 1600–2000 (=  Art and Architecture of Ireland ). Volume III. Yale University Press, Dublin 2014, ISBN 978-0-300-17921-7 , pp. 172-175 .

Web links

Commons : John Hogan  - collection of images, videos and audio files

Remarks

  1. ↑ Fintan Cullen: Hogan, John . In: WJ McCormack (Ed.): The Blackwell Companion to Modern Irish Culture . Blackwell, Oxford 1999, ISBN 0-631-22817-9 .
  2. ^ A b Jeanne Sheehy: The Rediscovery of Ireland's Past . The Celtic Revival 1830-1930. Thames and Hudson, London 1980, ISBN 0-500-01221-0 , pp. 54-55 .
  3. ↑ John Turpin: Hogan, John . In: Brian Lalor (Ed.): The Encyclopedia of Ireland . Yale University Press, New Haven 2003, ISBN 0-300-09442-6 , pp. 494-495 .
  4. ↑ a b c Prunty, p. 41.
  5. ↑ a b Turpin 1979, p. 64.
  6. ↑ a b Turpin 1980, p. 2.
  7. ↑ EB Fryde, DE Greenway, S. Porter, I. Roy (Ed.): Handbook of British Chronology . 3. Edition. Cambridge University Press, Cambridge 1986, ISBN 0-521-56350-X , pp. 421 .
  8. ^ Dublin University Magazine. P. 72.
  9. ↑ a b Turpin 1979, p. 65.
  10. ↑ a b c Turpin 1980, pp. 3-4
  11. ↑ Turpin 1979, p. 66.
  12. ↑ a b c Turpin 1980, p. 4
  13. ↑ EB Fryde, DE Greenway, S. Porter, I. Roy (Ed.): Handbook of British Chronology . 3. Edition. Cambridge University Press, Cambridge 1986, ISBN 0-521-56350-X , pp. 432 .
  14. ↑ Turpin 1980, p. 5.
  15. ↑ EB Fryde, DE Greenway, S. Porter, I. Roy (Ed.): Handbook of British Chronology . 3. Edition. Cambridge University Press, Cambridge 1986, ISBN 0-521-56350-X , pp. 426 .
  16. ↑ Turpin 2014, p. 173.
  17. ↑ a b Turpin 1980, p. 6.
  18. ^ Roderick O'Donnell: The Pugins in Ireland . In: Paul Atterbury (ed.): AWN Pugin: Master of Gothic Revival . Yale University Press, 1995, ISBN 0-300-06656-2 , pp. 143 .
  19. ↑ Brendan Grimes: Majestic Shrines and Graceful Sanctuaries . The Church Architecture of Patrick Byrne 1783–1864. Irish Academic Press, Dublin 2009, ISBN 978-0-7165-3073-2 , pp. 89-91 .
  20. ↑ Our Portrait Gallery. – No. LVII . John Hogan. In: James McGlashan (Ed.): Dublin University Magazine . tape XXXV , January 1850, p. 72–81 ( limited preview in Google Book search). Quote: Little known in Ireland outside a very contracted circle, [..], John Hogan has carved out for himself, in his Roman studio, a continental celebrity [..]
  21. ↑ Turpin 2014, p. 174.
  22. ^ Atkinson, p. 504.
personal data
SURNAME Hogan, John
BRIEF DESCRIPTION Irish sculptor
DATE OF BIRTH October 14, 1800
PLACE OF BIRTH Tallow , Ireland
DATE OF DEATH March 27, 1858
Place of death Dublin