The legacy of George Bernard Shaw and the impact his life had on The National Gallery of Ireland

The National Gallery of Ireland’s new exhibition is a reminder that George Bernard Shaw’s contribution to the arts extends far beyond the stage, writes Domhnall O’Donoghue

TGeorge Bernard Shaw

hey say all good things come to an end and, in 2020, this is undoubtedly the case for a primary source of funding for the National Gallery of Ireland. Since the 1950s, this Dublin landmark has been the recipient of a handsome bequest from one of theatre’s leading playwrights - and the only writer to win both an Oscar and a Noble prize. Largely thanks to the global success of My Fair Lady - a musical based on his iconic play, Pygmalion – these posthumous royalties have resulted in one of the largest ever financial gifts to the arts in Ireland. Unfortunately, as a result of playwright copyright law, the bequest has a 70-year lifespan, meaning the fund will take its final bow in 2020. As a tribute to Shaw’s generosity, while also marking the anniversary of his death, this summer the gallery has launched a new exhibition - Shaw and the Gallery: A Priceless Education. Sponsored by ESB, this special display explores the unique relationship between the scribe and the much-loved premises. In July, Leah Benson, the exhibition’s affable archivist and curator, honoured me with a personal tour where her enthusiasm and appreciation for the playwright was evident in her every comment. Indeed, her bonhomie must have stood her in good stead throughout the process. Given the current climate, Leah reveals that much of the exhibition’s initial planning was executed with the assistance of Zoom, while key aspects of the original layout and design also had to be reimagined. But in the true spirit of theatre, I imagine Leah found herself repeating that old adage that the show must go on - and in this case, it most certainly did. From original postcards and letters to photos and sculptures (and a striking but unnerving death mask), the modestly sized exhibition space has been transformed into a vibrant treasure chest of all things Shavian. Leah - a self-proclaimed chatterbox - jokes that she is almost lost for words when I probe what significance Shaw’s philanthropy has had on the gallery. “The impact of his gift is evident when you walk through the rooms of the gallery and see the influence it has had on the national art collection,” Leah reveals. “Throughout its existence, the Shaw Fund has enhanced and enriched the collection, from the pictures on the walls to the fabric of the buildings in which they hang.” Over 85 pieces have been purchased entirely using the fund while others have been partially financed by it. Highlights include The Terrace, Saint-Tropez by Paul Signac; Landscape with Flight of Stairs by Chaïm Soutine; and Venice, Queen of the Adriatic by Domenico Tintoretto. In addition to augmenting the gallery’s existing art collections, the funds have also been used to restore furniture and purchase and renovate adjoining buildings. They even contributed €2 million to the initial investment of the magnificent Millennium Wing, which opened in 2002. Leah says: “Shaw’s gift was simple in its purpose, to benefit the National Gallery and by extension, the people of Ireland.” But why did Shaw select the National Gallery of