Ireland, but she was a pioneer of a national avant-garde and strongly supported the encouragement of young Irish artists. The IMMA decided to evaluate and reexamine the European canon and bring artists like Mainie Jellett to the front line. In 1990 Bruce Arnold produced, scripted, and narrated a documentary To Make it Live-Mainie Jellett. In 1991 Arnold published a comprehensive biography of Jellett together with an analysis of the modern movement in Ireland. Death Jellett died in Dublin on 16 February 1944, aged 46, of pancreatic cancer. Elizabeth Bowen wrote a heartfelt obituary published in the periodical The Bell in 1944. She mentions one of their last talks in which Jellett mentioned the work of a genius, Dorothy Richardson – until the end, showing solidarity with women and the feminist movement. A plaque commemorates her former residence and place of work on 24 Upper Pembroke Street, Dublin. Work in collections Crawford Art Gallery, Cork, including: Composition (c. 1935) Niland Art Collection, Sligo Butler Gallery Collection, Kilkenny Trinity College, Dublin The Hugh Lane Municipal Gallery, Dublin The Irish Museum of Modern Art, Dublin Four Element Composition (1930) The National Gallery of Ireland, Dublin Greyfriars Municipal Art Gallery, Waterford Municipal Art Collection, Waterford Ulster Museum, Belfast, UK Analysis of Artworks Allegorical Scene (no date) Ulster Museum Jellett represents a religious scene through geometric elements typical of post-impressionism. Unfortunately, this work does not have a date to determine when it was created. The focal point of the painting is Christ, placed in the centre of the painting where the light is concentrated. The use of colours consistent with reality and perspective is evident. Likewise, Jellett's analysis of the image of the human body to find its geometric elements is observed. Four Element Composition 1925, IMMA This work was created by Jellett four years after her stay in Paris and her first advances into non-figurative art. The title of this painting anchors the representation of the crossing of cold colours, points, lines, and forms. Composition 1932-1935, Ulster Museum Jellett created this work later in her career. Composition 1932-1935 reflects the embrace of pure abstraction, excluding historical, cultural, or geographical limitations. It does not represent a figurative theme or subject but has an autonomous visual language with a singular meaning. The painting comprises a preponderant combination of curved lines that generate spatial shapes. Likewise, freedom from chromatic conventions is evident in a palette of terracotta,