James Gorry recalls the unique life and work of semireclusive painter Jeremiah Hoad, who quietly pursued his ‘gentle art’
Jeremiah Hoad (1924-1999) was a uniquely original painter, whose semi-reclusive lifestyle and lack of interest in material things contributed to the fact that his name in Irish art circles is not as well-known as many of his contemporaries, yet there remains a loyal and appreciative group of art lovers and collectors who recognise his importance. I knew Jerry and his wife, Judith, a writer, for many years and was privileged to act as his agent and gallerist until his death in 1999. I always enjoy creative ‘left-thinking’ people – be they in art, politics or society in general – and Hoad fitted the bill in spades. He gloried in the planet earth, with the present-day landscape sometimes transformed into a spiritual vision of it before mankind. In his paintings, houses were sometimes removed and figures were rarely introduced in a portrayal of the earth without contamination, pollution and consumer capitalism. In 1995, he and Judith stayed at the Rainbow Camp, Fintown, Donegal, living in a wigwam to show support for Native Americans and other ethnic races in danger of extinction.
The collection of 19th century stereo negatives of the Gap Girls of Dunloe in Kerry comprise a rare and unique body of work, writes Julian Campbell