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Wood was also a constant visitor to the studio, and the idea came to him that such men and their actions were the raw material for a painting that would capture for posterity the history and spirit of this troubled period. He arranged for them to travel to Dublin with their guns so that they could sit for Keating in his studio at the Metropolitan School of Art, Kildare Street.

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He got permission to set up his studio in the Mansion House instead. He returned to Kildare Street and set about making a second version of Men of the South. Fearing that the July truce might not hold, he thought it unwise to provide the British with a picture of himself. Keating painted the figures one by one and later observed critically that the new picture was not as coherent as the first because of the resulting piecemeal approach. Crawford Municipal Art Gallery.

He believed at the time that the Truce would not hold, and under such circumstances he felt it was unwise that his picture should be available to the British.

Roger Kiely – The Men of the South

Keating devised a new composition p. Later, he observed critically that the new picture was not as coherent as the first because of the resulting piecemeal approach. Keating noted that the original. Men of the South was exhibited at the RHA annual exhibition of That's right: As a scholar of gender and sexuality studies and American politics, and a gay man from the South, I think Schweitzer may have a point.

For me, Schweitzer's comments recall populist criticisms of southern aristocrats from centuries ago. In fact, I think he might have hit the nail on the head.

MAN FROM THE SOUTH with Steve McQueen Pt. 1 (Story by ROALD DAHL)

Well, perhaps "head" is too strong a word: I have no doubt that Eric Cantor is a happily married man, and I'm sure that his wife and children will enjoy having him around the house now that he won't be around the House any more. I just mean that the figure of the effeminate southern man has a history that Schweitzer's comments accurately evoked. In the early years of the Republic, much of the South was divided between the landholding, slave-owning lowcountry, and the more rural, hardscrabble upcountry.

People in the upcountry tended to be deeply religious yeoman farmers and tradesmen, the ideal citizens of Thomas Jefferson's imaginings: pious, hardworking, and a little bit rough around the edges. There was always a tension between these "salt-of-the-earth" types and their lowcountry counterparts — who tended to be richer, more politically connected, and, well, a little bit dandy-ish. Lowcountry men weren't officially gay, you see; the term "homosexual" wasn't actually coined until the late 19th century.

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But there was an unspoken sense among the hard-working upcountry folk that the lowcountry men just weren't quite manly enough. The institution of slavery played a big part in this, as men who needed to own other human beings to make a profit were viewed as not butch enough to do the work themselves.

Everyone from Adam Smith to Karl Marx agreed that, to be a man, hard work was required. Masculinity was — and still is — defined in part by one's ability to work.

Slave owners' refusal to produce wealth with their own heads and hands made their virility somehow questionable. Other jurisdictions may have other rules, and this image might not be in the public domain outside the United States.

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