Norah McGuinness HRHA (1901-1980) Night at the Breakwater Oil on canvas, 50 x 76cm (19¾ x 30'') Signed; inscribed verso Provenance: With The Dawson Gallery, label verso. Born in Derry, Norah McGuinness moved to Dublin at the age of eighteen after being awarded a three-year scholarship to study at The Metropolitan School of Art. Her decision was not supported by her parents but, under the tutelage of artists such as Harry Clarke and Patrick Tuohy, she nurtured her talent before heading to London to continue her learning at the Chelsea School of Art. In 1929, she was encouraged by Mainie Jellett to travel to Paris, where McGuinness furthered her education under the cubist André Lhote. McGuinness' time with Lhote was extremely influential as, although she did not become a slavish follower of Cubism, she was exposed to the modern movements which were then traversing the European continent. An intuitive teacher, it would seem that Lhote was particularly careful in encouraging his students' individual characteristics and talents. His list of pupils encompasses Grace Henry, Fr. Jack Hanlon, William Conor, McGuinness and Jellett to name but a few but each developed a very separate and distinct style, with Lhote's influence gently simmering underneath. Mainie Jellet summed up her time in Paris by stating With Lhote, I learned how to use natural forms as a starting point... to produce work based on a knowledge of rhythmical form and organic colour...' Studying McGuinness' work, the truth of this statement becomes apparent as her pieces are undoubtedly celebrations of shape and masterful experiments in tone. 'Night at Breakwater' is an excellent example of this. McGuinness has taken the shoreline and broken it down into its basic forms. Picked out by the moonlight, the sandy yellows of the beach lie in contrast to the inky pools of water. Subtle changes in colour hint at the water's depth and calm movement, whilst on land smatterings of orange and brown denote the abrasive nature of the sand. Sitting atop these organic elements are the man-made structures which have been approached in a harsher and bolder manner. Thick swabs of white interrupt the peaceful view, highlighting the structures as unnatural and clumsy additions to the waterfront. Despite the quick brushstrokes to the fore and middle grounds, the painting exudes a sense of calm, cemented by the serenity of the stretching sea behind. A master of atmosphere, McGuinness has artfully provided an impression of the urban shoreline at night. The image is slightly abstracted and, in places, the perspective is warped, however, we are under no confusion as to what we are looking at. As with all of McGuinness' work, her subject is clearly depicted within the playful nature of her style. Helena Carlyle, May 2021