Monday Morning Glory
Monday Morning Glory
Signed Print
Conor Harrington
Price data unavailable
This estimate blends recent public auction records with our own private sale data and network demand.
There aren’t enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Giclée print
Format: Signed Print
Year: 2016
Size: H 31cm x W 23cm
Edition size: 100
Signed: Yes
MyPortfolio
Your colletion tracked in realtime.
Build your portfolio, manage valuations, view return against your collection and watch works you're looking for.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Chiswick Auctions - United Kingdom | Monday Morning Glory - Signed Print | ||||
| Chiswick Auctions - United Kingdom | Monday Morning Glory - Signed Print | ||||
| Chiswick Auctions - United Kingdom | Monday Morning Glory - Signed Print |
Meaning & Analysis
As an example of Conor Harrington’s foray into the art of portraiture, Monday Morning Glory (2016) sheds light on the less known side of the Irish artist’s creative practice. Released in an edition of 100, the giclée print attests to Harrington’s versatility as an artist hovering skilfully between powerful existential undertones and historical frameworks, realist representation and freehand spray-painting.
The colour palette here ranges from patches of white paint on the forehead and cheekbones of the central male figure to dark shades of grey and purple covering the remaining areas of the face. Strokes of black paint form the background, blending with a subtle outline of the man’s beard and thus attributing his demeanour with a dark, ghostly dimension. Layers of white paint cover parts of the man’s face including his left eye, making it difficult for the viewer to fully decipher his facial expression. Such experimental application of paint creates a dark, introspective undertone attesting to Harrington’s affinity with such masters of portraiture as Lucian Freud. In particular, the work brings to mind Self-Portrait, Reflection (2002), in which the famous British painter’s appearance reflects his reckoning with the passage of time and the approach of death. Here as well, the emotions of anguish and distress visible dimly on the man’s face appear with a sense of foreboding.
