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John Luke (artist)
John Luke (19 January 1906 – 4 February 1975) was an Irish artist. He was born in Belfast at 4 Lewis Street. The fifth of seven sons and one daughter of James Luke and his wife Sarah, originally from Ahoghill. He attended the Hillman Street National School and in 1920 went to work at the York Street Flax Spinning Company. He went on soon after to become a riveter at the Workman, Clark shipyard and whilst working there he enrolled in evening classes at the Belfast College of Art.
He excelled at the college under the tutelage of Seamus Stoupe and Newton Penpraze. His contemporaries included Romeo Toogood, Harry Cooke Knox, George MacCann, and Colin Middleton. In 1927 he won the coveted Dunville Scholarship which enabled him to attend the Slade School of Art in London, where he studied painting and sculpture under the celebrated Henry Tonks, who greatly influenced his development as a draughtsman.
Luke remained at the Slade School until 1930, in which year he won the Robert Ross Scholarship. On leaving the Slade he stayed in London, intent on establishing himself in the art world. For a time he shared a flat with fellow-Ulsterman F.E. McWilliam (1909–1992), and enrolled as a part-time student of Walter Bayes at the Westminster School of Art to study wood-engraving. He began to exhibit his work and in October 1930 showed two paintings, The ''Entombment'' and ''Carnival'', in an exhibition of contemporary art held at Leger Galleries. The latter composition, depicting a group of masked merry-makers, was singled out by the influential critic, P.G. Konody of the ''Daily Mail'' (3 October 1930), as 'one of the most attractive features of the exhibition'. But the economic climate was deteriorating and a year later, at the end of 1933, he was driven back to Belfast by the recession. He remained in Belfast, apart from a time during the Second World War when he went to Killylea, County Armagh.
==Technique and Style==
John Luke's painting technique was painstakingly slow, his manner precise. 'I'm afraid I'm very much a one job man,' he once wrote to John Hewitt, continuing: 'my strength lies in making the most of one job at a time, in sustained thought and effort, to bring it to the highest level of organisation and completeness I desire: the other way I lead to disintegrate in looseness and frustration with its inevitable weakness.' The precision characteristic of his work was manifested, too, in his appearance and personal manner. Dark haired, in stature he was erect and spare of build. Always tidy, his clothes brushed, his hair short, he was, in Hewitt's words, 'not at all close to the romantic stereotype of the artist'.
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