Lady Hazel Lavery: The Muse Behind the Scenes

By Eoghan Fitzpatrick-Harkin

Light from the West; Irish Art after 1870, an exhibition currently on show in the Ulster Museum, is nothing short of a marvel. Featuring renowned Irish artists such as Sir John Lavery, Dermod O’Brien, Jack Butler Yeats and more, the collective showcases a unique snapshot into Irish society. However, when walking through the exhibition, one particular piece drew my attention, The Green Coat by Sir John Lavery. My piqued interest in the work drew me to uncover the story of the muse herself, Lady Hazel Lavery.

Looking at the piece in its entirety, it is indisputable that the work is simply stunning. The flow of her shawl and texture of her dress, subtly contrasted by the harsh background truly creates a wonder to the eye. Lady Hazel appears ethereal with her pale complexion conflicting with the deep umbers in her surroundings. Her facial expressions show a real sense of serenity. Furthermore, she looks whimsical, as the purples and greens of her clothing gently juxtapose one another. Lavery’s soft brushstrokes only add to this feeling of lightness, as pictured in further detail below.

Lavery, John, The Green Coat, 1929, oil on canvas.

The viewing experience left me wondering; who was this regal woman trapped in a painting? Well, Lady Hazel Lavery was born in Chicago, on the 14th of March 1880. A sixth-generation Irish American, Hazel’s family were relatively well-off, however their wealth despaired into decline following the death of her father. Despite this, she still went to finishing school and became renowned in Chicago’s high society circles, particularly for her undeniable beauty. Hazel travelled to Europe quite often for her studies and it was on one of these journeys in 1903 – at an artist retreat in Brittany – where she met artist John Lavery.

Despite their immediate connection, Hazel’s mother disapproved of their relationship and immediately had her shipped back to marry her fiancé, Edward Livingston Trudeau Jr. in New York later that year. Unexpectedly, he passed while Hazel was pregnant with her daughter Alice. The birth was hard and took time to recover; subsequently leading to Hazel discovering respite in John Lavery once again. In 1905, Hazel travelled to England and stayed at a spa in the Malvern Hills. Lavery visited her often and it is believed he painted – according to Jonathan Callaway – ‘What is believed to be his earliest portrait of her, La Dame en Noir (The Lady in Black)’ [1].

Now married to Sir John Lavery, Hazel swiftly moved into his residence in 1909 and shorty become a hostess for London’s elite. She organised events, charmed men who visited, always pushing them towards her husband’s studio to receive a portrait. Hazel was consistently wise in her actions, utilising her resources and connections to further Lavery’s goals and simultaneously, her own. It was through her flirtatious nature prevalent at her parties where she became well acquainted with many high-profile figures, such as Winston Churchill. In 1913 Lavery painted a highly popular portrait of King George V and as a result was appointed as the official war artist for World War One. It is likely Hazel had a strong hand in this success.

Next, is the part I find most fascinating; Hazel’s connection to the Irish Independence Negations. The couple had always been entranced by their Irish roots, however Hazel’s motivation to involve herself in Irish politics arrived upon witnessing the trial and execution of Irish nationalist, Rodger Casement. The couple wanted to use their connections to try to ease the ongoing conflicts in Ireland. They used their contact of Sir Shane Leslie, an Irish nationalist and cousin of Churchill to communicate with the Irish side, allowing the Lavery’s to enact dialogue with figures such as John Redmond and Michael Collins [2].

As a result of their connections to both sides of the water, the Lavery’s hosted regular delegations from both sides. Following the 1921 truce, the delegations led by Collins and Churchill took place in the Lavery house many times, strengthened by the Lavery’s links to various political figures such as Lloyd George and Lord Londonderry. Hazel herself manipulated opponents into having discussions away from the conference room and into somewhere more calming, perhaps encouraging the likelihood of peace in Ireland. Presently, many believe Hazel played a valuable role in the negotiations and aided significantly in the creation of the Anglo-Irish Treaty.

The Green Coat is on display in the Ulster Museum truly inspired an investigation into uncovering the woman in the painting. In today’s age, it is evident that Lady Hazel Lavery is an extremely underrated, powerful female figure, despite her vigorous efforts for peace in Irish politics. She was the face of old Irish notes prior to the Euro, the star of Lavery’s paintings; undoubtedly a legend of her time.

Sources:

[1] Callaway, Jonathan. n.d. Review of The Story of Hazel, Lady Lavery: The Woman behind the Banknote Classic.

[2] McCoole, Sinéad. 1996. Hazel.