Michael Wynne: Dr Michael Wynne, who has died aged 66, was for many years the National Gallery of Ireland's keeper and research curator. A self-effacing man, his breadth of knowledge was legendary at the gallery and internationally.
Described by his successor, Ms Marie Bourke, as a man of great integrity and warmth and a very fine colleague, he kept himself very much in the background. A tall, very formal, gentle and very private person, he seemed to be "of another century with very attractive habits you don't see much nowadays". He took snuff and was known for his Proustian felt hats.
Though research into the provenance of paintings is common today Wynne did much original groundwork, particularly on Irish works of the 18th and 19th centuries, his specialisation.
The 2001 Irish Paintings in the National Gallery of Ireland, a catalogue of 222 works by Dr Nicola Figgis and Dr Brendan Rooney, was dedicated to him by the gallery's director, Raymond Keaveney. Michael Wynne was to have written it but ill health dictated instead collaboration with the authors.
He bore "indifferent health with great patience and dignity" Archbishop Seán Brady told his funeral this week in Dundalk. He suffered from cardiomyopathy and depression. He retired from the gallery in 1997.
The catalogue series was begun by Michael Wynne with his 1986 survey of later Italian paintings in the gallery, described by Dr Anne Crookshank, his TCD doctorate professor, as showing what an excellent eye he had, adding that Mr Wynne did not receive the recognition he deserved in his lifetime.
That eye caught an important Murillo, Jacob at the Well, found in a Dublin garage. He recognised the importance of portraits by Gaspar Smitz and Garret Morphy, which as a result now form the core of the gallery's Early Irish School collection.
He was a regular contributor to the internationally prestigious Burlington Magazine, Apollo, as well as the Irish Art Review, Studies and other publication as well as in Italy. His bibliography of books, catalogues, and articles in periodicals has over 70 titles.
"His scholarship and legendary acumen contributed hugely to the development of the gallery's collection," The Irish Times art critic Aidan Dunne has written. His judgements on paintings were widely accepted in the art world (and among the country's leading entrepreneurs, on a fee-paying basis) - though his frankness about dubious purchases sometimes made waves at the gallery.
He did not care much for the administrative side of gallery work or its office politics and was known as a slow but methodical researcher who was precise and knowledgeable. At the gallery he was responsible for the acquisition of several masterpieces, including Launching The Currach by Paul Henry and others by Thomas Roberts (on whom he was the leading expert), Evie Hone and Mainie Jellett. He was an expert too on the 18th century painter, Thomas Frye, and on 18th and 19th century mahogany furniture.
He was also responsible for assessing the large collection donated by the Hunt family and for the conception and planning of the Beit Wing, opened in 1968.
Michael Wynne was born and brought up in Dundalk, where his family had a substantial building business. His parents were James Wynne and Anna Pauline McGeeney. It is said that he developed his fine eye from the grand buildings, including churches, his family firm built. "His natural feel for materials was inherited," wrote Dr Figgis in a tribute, adding that he developed an interest in the entire fabric and texture of a painting.
He was educated first at St Mary's College, Dundalk - he served as an altar boy with Larry Goodman - and at Glenstal Priory School, where he was not a rugby man. He later played golf and excellent billiards.
His BA was in archaeology from UCD in 1958. He then studied at the Irish College in Rome for six years but decided that the priesthood was not for him. During holidays from Rome he worked with Prof Ruairí de Valera of UCD at his excavation on the Hill of Tara. Art was beckoning. Dr Brady recalled joining a group tour, led by Wynne, of the artistic treasures of Rome and being impressed with his then prefect's knowledge, and patience with questions.
In his homily the archbishop said: "Beauty is another word for God. Michael knew well that the purpose of medieval artists, and of sculpting and building cathedrals, was to express the glory of God." He paid tribute to Wynne's work for the Armagh archdiocese, including his role as secretary of the liturgical commission there, and his role in planning the artistic furnishings of the Holy Redeemer Church in Dundalk.
Instead of the priesthood, Wynne studied at TCD for a Masters in Business Studies. From there in 1965 he joined the National Gallery. He became assistant to the late director, James White. While there he studied for his 1975 doctorate on Irish stained glass.
With White he was the main author of Irish Stained Glass, which is considered an out-of-print classic.
Widely travelled in Europe, he spoke fluent Latin (because he was taught through the medium in Rome), Italian and had good French. A very strong influence on him was the late Francoise Henry, the French "blue stocking" director of archaeology and painting at UCD in the 1950s and '60s.
He was a member of the Kildare Street and University clubs for about 40 years. His friends remember him as very loyal. He was always a friend to anyone interested in art history who knew the value of conservation. He was especially helpful to students and young researchers. Dr Figgis paid tribute to his unique and loveable combination of scholarship and eccentricity - he occasionally appeared in the gallery without socks.
Dr Wynne is survived by his brother James, his sister-in law Siobhan, nieces and nephews. He was predeceased by his sister, Anne, and elder brother Frank.
Dr Michael Brendan Wynne: born September 7th, 1937; died December, 2003.