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Patrick Swift
Patrick Swift (1927–1983) was an Irish painter who worked in Dublin, London and Algarve in southern Portugal.
== Overview ==
In Dublin he formed part of the Envoy arts review / McDaid's pub circle of artistic and literary figures.〔A circle that included Patrick Kavanagh, Anthony Cronin and Brendan Behan.〕 In London he moved into the Soho bohemia where, with the poet David Wright, he founded and co-edited ''X'' magazine. In Portugal he continued painting while also writing and illustrating books on Portugal and founding Porches Pottery, which revived a dying industry. During his lifetime Swift had only two solo exhibitions. His first exhibition at the Waddington Gallery, Dublin, in 1952 was well acclaimed. For Swift, however, his art seems to have been a personal and private matter.〔"Throughout his years in London, when he was right at the nerve centre of its art and literary life, he showed little interest in exhibiting his work." — Brian Fallon, "Patrick Swift and Irish Art", ''Patrick Swift: An Irish Painter in Portugal'', Gandon Editions, 2001(first published: Portfolio 2 - Modern Irish Arts Review, Gandon Editions, Cork, 1993); "Lucian Freud asks me if he is going to show in the new London Waddington’s, I answer that I did not think so, that I do not think he is interested in exhibiting his paintings. We are both puzzled." — Anthony Cronin, ''Patrick Swift 1927-83'', Gandon Editions Biography, 1993; "And one day I found him in his underground flat in Westbourne Terrace busily taking down all his canvases (or rather hardboards, for in those days he couldn’t afford canvas) from the walls and stowing them away in a cellar. His reason was: a millionaire art fancier had rung up to say he was calling and Swift did not want him to buy, or so much as see, his work." — David Wright, ''Patrick Swift 1927-83'', Gandon Editions, 1993; "In the world in which we all moved at that time, I used to be curious as to the detachment Paddy showed to the market place, at his indifference to the fashionable galleries where Freud and Bacon were the beckoning lights, along with Frank Auerbach; it was as if he'd taken Joyce's Stephen Daedalus to heart — that once the work is created, it is no longer anything to do with the artist, who simply stands aside and pares his nails." — Martin Green, ''Patrick Swift 1927-83'', Gandon Editions, 1993; "Many people assumed he had stopped painting altogether" — Brian Fallon, "The fall and rise of Patrick Swift", ''The Irish Times'', 11 June 1992〕 In 1993 the Irish Museum of Modern Art held a retrospective of Swift's work.
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