George Campbell, artista irrepetible y caballero irlandaluz

Carlos Pérez Torres

doi:10.24310/transatlantic-studies-network..4.2017.19375

Authors

Carlos Pérez Torres University of Malaga
Spain

DOI:

https://doi.org/10.24310/transatlantic-studies-network..4.2017.19375

Keywords:

George Campbell, Ireland, painter, art, Málaga

Abstract

George Campbell was a great painter, and his artistic mood was contagious to anyone who approached him, as he had a magnetic personality, a fine sense of humour, and he appreciated frienship above anything else
This essay revises the values of his career as a painter who enjoyed recognition and admiration, and explores his connections to other artists whom he met in Malaga and kept close to him. The final part intends to explain in detail why the figure of Campbell can perfectly reflect the confluence of interests between the society and culture of Ireland and Spain –particularly Andalusia.

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Author Biography

Carlos Pérez Torres, University of Malaga

University of Malaga

References

Brian Fallon (2017): «Sketches of Spain», en Irish Arts Review.

Karen Reihill (2015): George Campbell & The Belfast Boys. Dublín: Adam’s.

Carlos Pérez Torres (2001): «George Campbell o la síntesis en la pintura del espíritu celta y la vocación mediterránea», en Isla de Arriarán, n.o XVII. Málaga.

Michelle Baily (1992): The Life and Work of George Campbell, RHA (1917-1979) (texto introductorio del catálogo de la exposición retrospectiva: «George Campbell, Droichead Arts Centre», celebrada en Drogheda, Co. Louth, Irlanda).

Susan Stairs (1990): The Irish Figurists.

Robert McDonald (1966): «On George Campbell», en The Dublin Magazine.

Contando las fotografías en el orden de publicación, se indican a continuación las fuentes: Archivo Pérez Almeda (fotos 3, 4, 5, 6, 8, 34 y 39); Archivo Pérez Torres (fotos 1, 7, 14, 15, 17, 20, 22, 23, 24, 26, 37, 38, 40, 41 y 43); Archivo Karen Reihill (fotos 2, 9, 10, 11, 12, 13, 16, 18, 19, 21, 25, 27, 28, 29, 30, 31, 32, 33, 35, 36 y 44); Aula María Zambrano de la UMA (foto 42).