Gerard Dillon (1920-1971) Door Ajar Oil on board, 30.5 x 49.5cm (12 x 19½'') Signed Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004;...

Gerard Dillon (1920-1971) Door Ajar Oil on board, 30.5 x 49.5cm (12 x 19½'') Signed Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Exhibited: ''Gerard Dillon Retrospective'', Droichead Arts Centre Jan/Feb 2003; Art Tank Gallery, Belfast, Feb/March 2003; ''Nano Reid and Gerard Dillon Exhibition'', Highlanes Gallery, Drogheda, Nov 2009/ Jan 2010, F.E. McWilliam Museum, Jan-April 2010; ''Gerard Dillon, Art and Friendships'', Adam's, Dublin, July 2013, The Ava Gallery, Clandeboye, August 2013, Cat. No. 78 Literature: ''Nano Reid and Gerard Dillon'' 2009, full page illustration p.32; ''Gerard Dillon, Art and Friendships'' Karen Reihill 2013, illustration p.89 From the mid 1950's, Gerard Dillon's Connemara images became less primitive and his interest lay primarily in colour, shape and design. Children feature in many of his works in different mediums during the 1950's and 60's, perhaps recalling his childhood playground in the redbrick streets of Industrial Belfast. ''Door Ajar'' is stylistically similar to another work from the same period, ''Girl at Door.'' Both depict a dark haired girl inside an open door. In 'Door Ajar' however, Dillon has devised a pictorial technique by employing a bold colour on the door to direct the viewer's eye to the child holding a book. This technique can be seen in another work, ''Tea Break'' from the same period. By directing our attention to the young girl, Dillon has disguised his central interest in colour, shape and design. Enthralled by the simple lives of the people in the West of Ireland Dillon took holiday breaks from odd jobs in London in the 1940's and 50's to seek out subject matter in preparation for exhibitions. The artist's Biographer, James White stated, ''He cultivated simplicity and a love of childhood openness and honesty and he was the only artist whom I ever believed was really sincere when he declared that he wanted to paint with a child's directness.'' Karen Reihill Currently researching Gerard Dillon & Friends

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