Born: 09 May 1925, Dublin
Entered: 07 September 1942, St Mary's, Emo, County Laois
Ordained: 31 July 1956, Milltown Park, Dublin
Final Vows: 02 February 1960, ST Stanislaus College, Tullabeg, County Offaly
Died: 30 December 2003, Cherryfield Lodge, Dublin
Part of the Milltown Park, Dublin community at the time of death
Early education at Clongowes Wood College SJ
by 1962 at St Ignatius, Tottenham London (ANG) studying
by 1963 at Mount Street, London (ANG) studying
by 1964 at Church of the Assumption, Warwick (ANG) studying
by 1973 at Warwick University (ANG) teaching
by 1993 at Campion Hall, Oxford (BRI) teaching
◆ Royal Irish Academy : Dictionary of Irish Biography, Cambridge University Press online :
Barrett, (Denis) Cyril
by Patrick Maume
Barrett, (Denis) Cyril (1925–2003), Jesuit priest, art critic and historian, and philosopher, was born Denis Barrett in Dublin on 9 May 1925 (Cyril was his name in religion). He was the son of Denis Barrett, the last assistant commissioner of the Dublin Metropolitan Police. His mother died of cancer when he was aged three, and his father subsequently remarried; the two marriages produced four sons and a daughter. Young Denis grew up at the family home in Booterstown, south Co. Dublin; his relationship with his stepmother Evelyn was close and affectionate. The family background was well‐to‐do catholic with some landed gentry elements which might have been described as ‘castle catholic’ but which offered scope for self‐expression, often eccentric; like several of his ancestors, Barrett was noted for charm, eccentricity, and intellectual brilliance.
He was educated at Killashee school in Naas, at Ampleforth College, Yorkshire, and at Clongowes. He joined the Jesuits in 1942, underwent a Thomist training in philosophy at the Jesuit college in Tullabeg, and studied theology at Milltown Park in Dublin. The Jesuits recognised and encouraged his academic vocation, and his career took advantage of the wide latitude allowed to an imaginative Jesuit in pursuance of his vocation. He studied Latin and history at University College Dublin (the latter discipline, as taught by John Marcus O’Sullivan (qv), had a strong philosophical component, and Barrett recalled being introduced to political philosophy by studying Rousseau as being thrown in at the deep end) and graduated with a first class BA in 1947. After a year studying anthropology and the role of myth at the Warburg Institute, Barrett began a peripatetic teaching career, including three years at Clongowes, three years teaching psychology at Tullabeg, and a period at Chantilly (France). He also studied theology at Milltown Park. Barrett was ordained priest in 1956 and took his final Jesuit vows in 1960. He undertook advanced research in philosophy at the University of London, receiving a Ph.D. in 1962 for a dissertation on symbolism in the arts.
In 1965 Barrett was one of two founding members of the philosophy department at the University of Warwick, where he was successively lecturer (1965–7), senior lecturer (1967–72) and reader (1972–92). Shortly after his appointment to Warwick he established his reputation, first by editing a well‐received selection of papers by innovators in the philosophy of art and criticism, Collected papers on aesthetics (1965), then by persuading the notoriously reluctant Wittgenstein estate to allow him to publish a collection of notes by three students of Wittgenstein of the philosopher’s remarks on aesthetics, psychology and religion. Lectures and conversations on aesthetics, psychology and religious belief (1966) offered new perspectives on Wittgenstein’s aesthetic and religious interests, whose extent had barely been realised, and became the basis for an extensive critical literature.
Barrett maintained his involvement with Wittgenstein throughout his career, summing up his views in Wittgenstein on ethics and religious belief (1991). He maintained that the gap between Wittgenstein’s early and late views had been exaggerated; the importance Wittgenstein attached to value remained constant and the Tractatus logico‐philosophus, widely seen as an exercise in positivism, was in inspiration a document of moral inquiry. He did not call himself a Wittgensteinian (he was sceptical of the concept of philosophical discipleship) but was influenced by Wittgenstein in his eclectic preference for addressing disparate problems rather than seeking to build an overarching system, and in his interest in the nature of perception.
The mature Barrett held the Wittgensteinian view that religion could not be stated in propositional terms (i.e. as a set of beliefs) but can only be experienced as a way of life, though Barrett also maintained that this did not entail relativism between such ways; real belief was required. This view would have been seen as heterodox by large numbers of Christians throughout the history of Christianity (including some of Barrett’s contemporaries) but was part of a wider reaction within twentieth‐century catholic theology against what were seen as excessively mechanical and rationalistic forms of neo‐Thomism and of a desire to rediscover the approach of the early church fathers based on the view that reason might illuminate faith from within but could not create it where it did not exist.
Barrett disliked clerical politics and what he saw as the intellectual narrowness and social conservatism of the church hierarchy. He was hostile to the neo‐orthodoxy of Pope John Paul II; his comment in a public venue on the day of the pope’s attempted assassination by Mehmet Ali Agca (13 May 1981), that the greatest fault of ‘that bloody Turk’ had been not shooting straight (Times, 15 Jan. 2004), was occasionally cited by more conservative catholics as symbolic of the perceived deterioration of the Jesuits after the second Vatican council. Barrett’s friends recall, however, that despite his pleasure in flouting what he regarded as petty‐fogging rules and the constraints of his calling, he maintained a deep personal faith in God and was a valued and compassionate confessor and adviser; beneath his questing was an underlying simplicity.
He was a champion of various schools of modern art, particularly Op Art (in 1970 he published one of the first significant books on this form of abstract art, which uses optical illusions to focus the viewer’s attention on the process of perception). He was a regular visitor to eastern Europe where he combined religious activity with encouragement of those artists who were resisting official pressure to conform to Soviet realism; his trips were financed by eastern bloc royalties from his own publications (which could not be transferred into western currencies) and the profits from smuggling out disassembled artworks as ‘agricultural implements’. He also helped to mount several art exhibitions to popularise favoured trends, and established extensive (and hard‐bargained) relationships with London dealers. He played a significant role in building up Warwick University’s art collection, and at various times donated forty works from his own collection (including items by Bridget Riley, Micheal (Michael) Farrell (qv), and Yoko Ono) to the university. Barrett’s fascination with kitsch led him to produce a paper, ‘Are bad works of art “works of art”?’ (Royal Institute of Philosophy Lectures, vi (1973), 182–93), inspired by some of the religious art he encountered at Kenilworth Priory, Warwick. (Barrett’s answer was a qualified Yes.)
He did much to popularise modern art in Ireland through his frequent contributions to the Jesuit quarterly review Studies (he was assistant editor for a year in the early 1950s, and throughout his subsequent career wrote and reviewed for the journal on a wide range of topics) and other journals such as The Furrow and Irish Arts Yearbook. He produced a widely respected catalogue of nineteenth‐century Irish art (Irish art in the 19th century (1971)), and with Jeanne Sheehy (qv) contributed two chapters on the visual arts and Irish society to A new history of Ireland. VI. Ireland under the union, II. 1870–1921 (Oxford 1996) and an account of twentieth‐century art to A new history of Ireland. VII. 1921–84 (Oxford 2004). He also published monographs on the artists Micheal (Michael) Farrell and Carmel Mooney.
Although his flair for teaching and disputation was celebrated on campus, Barrett, like many old‐style academics, lacked administrative aptitude and in his later years at Warwick he was irritated by the increasing bureaucratisation and quantification of higher education. In 1992 he retired from Warwick to Campion Hall, the Jesuit college at Oxford, where he organised an exhibition of its art holdings, used the Latin‐language procedure in applying for a Bodleian reader’s ticket, and was a frequent visitor to the rival Dominican hall, Blackfriars. At Campion Hall he continued to work as a tutor, though he maintained that leisure (expansively defined as ‘life lived to its fullest’) was the proper end of human life and the proper state of mankind; he devoted as much time to it as possible.
He was a world traveller (wont to describe some of the ricketier charter planes he encountered as ‘Holy Ghost Airlines’), a gourmet cook who loved to entertain guests, a convivial drinker, and fond of betting on horseraces; he regularly attended the Merriman summer school in Co. Clare with his friend the broadcaster Seán Mac Réamoinn (1921–2007). He was a voluble critic of the provisional IRA. At the time of his death he was working on an analysis of the morality of war (he was always critical of the view that a just cause justified any means), a philosophical autobiography My struggles with philosophy, and a revision of the Spiritual exercises of St Ignatius Loyola. He also wrote poetry inspired by his reactions to the cancer which was killing him. Cyril Barrett died in Dublin on 30 December 2003.
Ir. Times, 10 Jan. 2004; Times (London), 15 Jan. 2004; Independent (London), 25 Feb. 2004; https://warwick.ac.uk/services/art/teachinglearningandresearch/onlineexhibitions/cyrilbarrett/
Interfuse No 123 : Special Issue February 2005
Fr Cyril D Barrett (1925-2003)
May 9th 1925: Born in Dublin
Early education at Kiliashee, Naas, Co.Kildare, Ampleforth College, Yorks. and Clongowes
Sept. 7th 1942: Entered the Society at Emo
Sept. 8th 1944: First Vows at Emo
1944 - 1947: Studied Arts at UCD
1947 - 1950: Tullabeg - Studied Philosophy
1950 - 1953: Clongowes - Prefect and Teacher
1953 - 1957: Milltown Park - Studied Theology
July 31st 1956: Ordained at Milltown Park
1957 - 1958: Tertianship at Rathfarnham
1958 - 1959: Leeson Street - Minister, Asst. Editor Studies
1959 - 1960: Tullabeg - Prof. Psychology; Subminister
Feb. 2nd 1960: Final Vows
1960 - 1961: Tullabeg -Prof. Psychology; Minister
1961 - 1964: London - Postgraduate Studies (History of Philosophy), London University (PhD)
1964 - 1965: Chantilly, France - Lecturer in Philosophy
1965 - 1966: Warwick University - Lecturer in Philosophy
1966 - 2003: Milltown Park
1966 - 1967: Dean of Philosophy; Prof. Philosophy at MI
1967 - 1972: Senior Lecturer in Philosophy - Warwick U.; Reader / Visiting Lecturer - Milltown Institute
1972 - 1992: University of Warwick - Reader in Philosophy
1992 - 2002: Oxford - Tutor in Philosophy
2002 - 2003: Milltown Park - writer
Dec. 30th 2003: Died at Cherryfield Lodge, Dublin.
Fr. Barrett was diagnosed as suffering from cancer in Autumn 2003. Despite a brief remission his health deteriorated steadily. He was admitted to Cherryfield Lodge on Christmas Day. There he died on the morning of Dec. 30th 2003.
Obituary from Times of London, January 15, 2004:
Dinner with Father Cyril Barrett - and you would dine well with this accomplished cook, even if in somewhat chaotic surroundings – was an intellectual feast composed of unpredictable ingredients. A man of huge charm, voracious curiosity and lively humour, he made an open house of his great learning. It was a place that offered inspiration and discovery to those who stepped across its threshold, at the University of Warwick where he taught philosophy for nearly three decades, in Dublin and London, or on his adventurous travels on a Jesuitical shoestring. (Holy Ghost Airlines, he would joke about the dodgier charter flights to dodgy destinations.) As an experimental new university in the mid-Sixties, Warwick attracted, and was attracted by, his interdisciplinary and questing cast of mind. Barrett was as authoritative on Op Art as he was on Wittgenstein's aesthetics.
Inducted almost straight from school into the Society of Jesus but, wisely, given free rein to pursue his strong academic vocation, Cyril Barrett found his reference points as writer, critic and lecturer in philosophy, aesthetics and a lifelong engagement with religious meaning; but he branched outward in multiple directions. He could discourse as intriguingly on hot racing tips, the samizdat blue films circulating in Cold War Central Europe (about which he was alarmingly well informed), kitsch or even knitting, as he talked about medieval aesthetics, Kierkegaard or Picasso. The most unclerical of priests, his faith was deep yet never unquestioning, just as the intellect that made him a renowned philosopher and art critic was tempered by the intensity of his inner spiritual dialogue.
Denis Cyril Barrett was born in 1925 in Dublin, to the sort of horse-and-hounds family that throws up, as it did with his great-uncle Cyril Corbally, such eccentric luminaries as champion croquet players. But this was independence-era Dublin, with its charged politics. His father Denis, the last Assistant Commissioner of the pre-1922 Dublin Metropolitan Police and the first of the Garda Siochana that replaced it, was to resign out of disgust with de Valera's brand of nationalism and the virulence of the IRA – a disgust always shared by his son. His mother died when he was three, and he was brought up by his adored stepmother Evelyn.
His early trajectory was conventional, from Ampleforth to a first in History and Latin at University College, Dublin, and thence to licenciates both in philosophy and in theology before ordination. How little these disciplines were to confine him was demonstrated by his doctorate, on symbolism in the arts, and a subsequent year studying anthropology and the role of myth at University College, London and the Warburg Institute, His large body of books and essays was to be almost equally devoted to modern art --- where his influence was enormous and Europe wide -- and to philosophical studies.
As a philosopher, Barrett became celebrated for publishing, in 1966, a selection of student notes of Wittgenstein's lectures and conversations on aesthetics, psychology and religious belief -- a small corpus out of which has developed a massive secondary literature and which has profoundly influenced aesthetics and theology. All his formidable persuasive skills were put to the test in gaining the consent of the notoriously possessive executors; Wittgenstein declared that "only aesthetic and conceptual questions” really gripped him, but without the Barrett enterprise, few would have known for many years of his grapplings with the former, or indeed with religion.
A quarter of a century later he gave his own considered account of Wittgenstein on ethics and religious belief, arguing that his views on value developed but did not change. Wittgenstein, he maintained, held that seeking to inculcate moral principles, and teaching religion in propositional form, is contrary to the true nature of ethics and religious belief - a position he endorsed. But he resisted the influential misinterpretation according to which Wittgenstein held religious belief to be nothing more than a way of life according to a picture. Belief is involved. The “picture” of Judgment Day is more than a mere picture or exemplar; it is a picture to live by, and there are better and worse such pictures; Wittgenstein “was no more a relativist than any reasonable person can avoid being”.
While never a Wittgensteinian, and indeed hostile to the notion of philosophical discipleship, he certainly learnt from him, and in aesthetics this influence came out in at least two ways. First, in his preference for tackling particular problems and clarifying ideas, over constructing elaborate theories, and secondly in his engagement with the interconnections between aesthetics and psychology, expressed most notably in his pioneering work popularising and explaining Op Art, both in books and by organising exhibitions. As an art critic he was wide-ranging and formidable -- his catalogue of 19th-century Irish Victorian Art is a classic of its kind - but also creative. He was a driving force in establishing Warwick University's art collection, and in cultivating understanding of modern art in Ireland. “Are bad works of art ‘works of art’?”, he asked in an influential essay; his suitably nuanced answer was that they may well be.
Jesuits, avowedly and by direction, are deeply involved in the world's affairs - and the greatest of them are mavericks. To someone of Barrett's catholic interests, impatience of convention and detestation of intellectual narrowness, Catholicism can be a hard master. Like many Jesuits down the centuries, Barrett made no attempt to disguise his chafing at the Vatican's hierarchical politics and social conservatism - going so far as to declare on the day of the attempted assassination of the Pope, in a bellow that filled a London restaurant, that “the only thing wrong with that bloody Turk was that he couldn't shoot straight”. The religious affairs correspondent of The Sunday Times, seated at a nearby table, turned beetroot.
Yet Barrett could readily assume his priestly guise and, in that capacity, was a compassionate and subtle counsellor and eminently practical moralist, ultimately convinced of the intelligence as well as the goodness of the Holy Spirit and able to instil that belief in others.
Academic politics bored Barrett at least as much as the priestly variety, and the world of league tables, research assessments and other bureaucratic rigidities even more. He left Warwick in 1992 for Campion Hall, Oxford, with some relief, striding into the Bodleian and demanding (successfully) to use the Latin language procedure for registering for a reader's ticket,
He continued writing to the very end of his life, back in Dublin, and was working in the last weeks on books and articles ranging from the morality of war to the limits of science, as well as writing poetry and rewriting the Spiritual Exercises of St Ignatius. Barrett would, however, have described this as the pursuit of leisure, which for him was “not a trivial pursuit”, and nothing to do with idleness, but, rather, “life lived to its fullest”.
Work was necessary for survival, he wrote, but “It is not an end in itself. Leisure is. It is the end, the goal, of human life, the proper state of man” -- which is why the quality of leisure matters. There are echoes here of Aristotle, even of St Augustine's idea of entering the holy Sabbath of God. But Cyril Barrett's genius was to draw the classical forward into the present; to cite one of his aphorisms, “philosophy may be perennial, but it is not static”.
◆ The Clongownian, 2004
Father Cyril Barrett SJ
Father Cyril Barrett, SJ, who died on December 30th, 2003 aged 78, was a philosopher and art critic of international renown. He had his first direct encounter with philosophy as a student at University College Dublin, through Prof Marcus O'Sullivan's treatment of Rousseau. Philosophy, he would later remark, was a matter of learning to swim by diving in at the deep end but, he cautioned, the deep end of Rousseau's political philosophy was not to be recommended.
He wrote in “Studies” on subjects ranging from Picasso to Kierkegaard. His first book on Wittgenstein, dealing with aesthetics, psychology and religious belief, was published in 1966. Twenty five years later, he published Wittgenstein on Ethics and Religious Beliefs, a mature exposition of the questions that engaged him as a philosopher.
He played a major role in fostering an appreciation of modern art in Ireland. He was a member of the committee of ROSC that provided a showcase for the work of leading international artists. A regular contributor to “Art Monthly”, his publications include a study of op art and monographs on : Michael Farrell and Carmel Mooney. He contributed a section on art in the 20th century to the most recent volume of “A New History of Ireland” (2003).
Denis Cyril Barrett was born on May 9th, 1925, in Dublin, the son of Denis Barrett and his wife Lily (née Kearney). His father was assistant commissioner of the Dublin Metropolitan Police and the family lived in Booterstown. His mother died when he was three and his father later remarried. His early education took place at Killashee, Naas, Co Kildare, Ampleforth College, Yorkshire, and Clongowes Wood College. In 1942 he entered the Society of Jesus and was ordained in 1956, taking his final vows in 1960.
He studied arts at UCD and in 1947 secured a first class honours in Latin and History. Having studied philosophy at Tullabeg, Co Offaly, he taught for three years at Clongowes. He spent the next three years studying theology at Milltown Park, Dublin. Following a year as assistant editor of “Studies”, he taught psychology at Tullabeg. He completed a PhD at London University in 1964 and afterwards caught philosophy at Chantilly, France, and at the University of Warwick, where he remained until 1992. Retirement from Warwick brought him to Campion Hall, Oxford, as a tutor for 10 years. Throughout this time he was a visiting lecturer at Milltown Park.
At the time of his death he was in the process of writing a philosophical memoir with the working title “My Struggles With Philosophy”. In it he addressed the question of understanding other philosophers whose views are alien, not only to one's own thought but also to the precepts of common sense.
A man of many parts, he was a world traveler, a gourmet cook who liked to entertain and he had the knack of picking a winner on the racing page or at an occasional race meeting. He also enjoyed attending the Merriman Summer School with his friend, Seán Mac Réamoinn. But, as his colleague, Father Bill Mathews, said at his funeral Mass, “At the centre of it all, I believe there was in him a very simple faith in God and in the goodness of God”.
Predeceased by his brother Matthew, he is survived by his stepmother Evelyn, brothers John and Father Francis, and sister Eve.
Courtesy of The Irish Times