Description:

Maria Simonds-Gooding RHA (Irish, b. 1939). "An Toileanach Door" etching, n.d. Edition 42 of 65. Hand-signed with date, number, and title beneath image. A dynamic etching by Maria Simonds-Gooding titled "An Toileanach Door," translating from Irish to "The Islander Door." The composition shows light casting in from the open wooden door of a stone house, the viewer positioned on the interior looking out to an Irish field. The piece's title references the famous novel by Tomas O'Crohan "An Toileanach," which details life in the Blasket Islands and is considered both a classic of Irish-language literature and a central text of the Gaelic Revival. Simonds-Gooding settled on the Dingle Peninsula, which looks out to the Blasket Islands, in 1968. She speaks of her first visit there saying: "I was immediately captivated by its people, the Blasket Islanders, the islands themselves and the life there, the Irish language the traditions, music and the whole way of life. The starkness of the landscape was moving and inspiring." Size of image: 7.75" W x 11.5" H (19.7 cm x 29.2 cm); of frame: 15" W x 19" H (38.1 cm x 48.3 cm)

About the artist: "Maria Simonds-Gooding has been identified as one of Ireland's foremost painters and printmakers to have emerged since the Sixties. Her work, which has been exhibited internationally, is represented in many public and private collections, including those of the Irish Museum of Modern Art and the Metropolitan Museum in New York. Born in India in 1939, Maria Simonds-Gooding studied at the National College of Art, Dublin, Le Centre de Peinture, Bruxelles, Bath Academy of Art, Corsham, UK from 1962 – 1968 and has lived and worked in Kerry since 1947. She was elected a member of Aosdana in 1981 and was elected full membership of the Royal Hibernian Academy in 2012." (Biography from the artist's website)

RHA Directory Patrick T. Murphy writes: "Simonds-Gooding's work is in the best Modernist sense, reductivist. She deliberately absences the unnecessary and foregrounds only line and space to create essential worlds that are recognisable but not locatable.

And yet it is all about locale, though those locations can be in the Sinai Desert, New Mexico or Kerry - all expose the ancient negotiation between man and land and subsistence. If the cave drawings of Lascaux are about the hunter homo sapiens then Simonds-Gooding's works are about subsistence farmers and the effect their toil has upon the land.

Simonds-Gooding's fields, bound by walls or ditches, do not to signify proprietorial ownership but a place won back from the wild and untamed land that surrounds it. They are statements of defiance and endurance, places where a struggle against the elementals to eek a survivalist living has left its evidence.

It is also about transcendence, her images touching something deep inside our collective unconsciousness. Her schema, elegant and beautiful, suggest an algebra of traces, specifically, mankind’s agrarian efforts in places remote and severe."

Provenance: private Erie, Colorado, USA collection, acquired in the 1970s

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#189648

  • Condition: Hand-signed with date edition number and title beneath image. Set behind glass in custom frame with suspension wire on verso for display. Has not been examined outside of glass, but appears to be in excellent overall condition.

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