Patrick Swift, (1927 - 1983) Cottages at Ashwell Oil on canvas, 51 x 76cm, 20 x 30'' Signed, also signed, inscribed & dated 1958 verso John Ryan wrote of the artist:-When I first met Patrick Swift, in the late forties, he had only just thrown up his job with the Dublin Gas Company to give himself full time to painting. He was in his early twenties, without any formal training in painting. With great authority and calm he was even then producing landscapes, portraits and still-life of amazing competency.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. Patrick Swift, (1927 - 1983) Cottages at Ashwell Oil on canvas, 51 x 76cm, 20 x 30'' Signed, also signed, inscribed & dated 1958 verso John Ryan wrote of the artist:-When I first met Patrick Swift, in the late forties, he had only just thrown up his job with the Dublin Gas Company to give himself full time to painting. He was in his early twenties, without any formal training in painting. With great authority and calm he was even then producing landscapes, portraits and still-life of amazing competency.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.
Patrick Swift, (1927 - 1983) Cottages at Ashwell Oil on canvas, 51 x 76cm, 20 x 30'' Signed, also signed, inscribed & dated 1958 verso John Ryan wrote of the artist:-When I first met Patrick Swift, in the late forties, he had only just thrown up his job with the Dublin Gas Company to give himself full time to painting. He was in his early twenties, without any formal training in painting. With great authority and calm he was even then producing landscapes, portraits and still-life of amazing competency.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. Patrick Swift, (1927 - 1983) Cottages at Ashwell Oil on canvas, 51 x 76cm, 20 x 30'' Signed, also signed, inscribed & dated 1958 verso John Ryan wrote of the artist:-When I first met Patrick Swift, in the late forties, he had only just thrown up his job with the Dublin Gas Company to give himself full time to painting. He was in his early twenties, without any formal training in painting. With great authority and calm he was even then producing landscapes, portraits and still-life of amazing competency.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.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
