![]() Éimear O’Connor has written about the way that, while he was very knowledgeable about Irish literature and tradition, he also looked much further afield and was as deeply involved with a complex of European and Eastern sources. ![]() He invested prodigious energy in every project and drew on an extensive range of sources and influences. While he was at the Dublin Metropolitan School of Art, Clarke met and eventually married a fellow student and fine painter, Margaret Crilly, and in time she and his brother Walter took on much of the burden of the workshop.ĭespite an extraordinary level of productivity, Clarke did nothing lightly. Besides producing illustrations and designs for stained glass, either of which would have been a full-time occupation, until illness prevented him – and he was dogged by ill-health throughout his tragically short life – he ran the stained glass workshop established by his father as part of his church decorating business. ![]() Clarke is probably best known now for his stained glass but, as his friend Lennox Robinson wrote following his death: “Ireland has lost her greatest designer in stained glass, and her greatest black-and-white artist.” Clarke’s book illustrations had proved enormously successful.
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