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A brief history of Irish art masterpieces offers many fine illustrations.
Ireland's incredible artistic heritage is celebrated in this entertaining, enlightening book. From the Newgrange kerbstone to Francis Bacon's studio, Bhreathnach-Lynch takes us through a history of Irish art in 50 works, celebrating each along the way.
Art, Ireland and the Irish Diaspora reveals a labyrinth of social and cultural connections that conspired to create and sustain an image of Ireland for the nation and for the Irish diaspora between 1893 and 1939. This era saw an upsurge of interest among patrons and collectors in New York and Chicago in the 'Irishness' of Irish art, which was facilitated by gallery owners, émigrés, philanthropists, and art-world celebrities. Leading Irish art historian, Éimear O'Connor, explores the ongoing tensions between those in Ireland and the expatriate community in the US, split as they were between tradition and modernity, and between public expectation and political rhetoric, as Ireland sought to forge a post-Treaty international identity through its visual artists. Featuring a glittering cast of players including Jack. B. Yeats, George Russell (AE), Lady Gregory, and Seán Keating, and richly illustrated in colour with images from archives on both sides of the Atlantic, Art, Ireland and the Irish Diaspora presents a wealth of new research, and draws together, for the first time, a series of themes that bound the Dublin art scene with that in New York and Chicago through complex networks and contemporary publications at an extraordinary time in Ireland's history.
This richly illustrated book presents the latest research into Irish fine art from the 17th and 18th centuries. It is comprised of a rich selection of case studies into artistic practice that showcase the burgeoning nature of fine art media in Ireland, the quality of production, and the breadth of patronage. Investigating these signifiers of a 'cultured' lifestyle - their production, consumption, appreciation, display, and discourse - provides fascinating insights into the sensibility of Ireland's minority-rule elites, and the practitioners it fostered. Featuring contributions from emergent and established art historians, 'Irish Fine Art in the Early Modern Period' takes its subject matter beyond the realms of academic journals, exhibitions and conferences, and presents it within a lavishly designed and vital publication that presents substantial new insights into Ireland's artistic and social history.
Art and the Nation State is a wide-ranging study of the reception and critical debate on modernist art from the foundation of the Irish Free State in 1922 to the end of the modernist era in the 1970s. Drawing on art works, media coverage, reviews, writings and the private papers of key Irish and international artists, critics and commentators including Samuel Beckett, Thomas MacGreevy, Clement Greenberg, James Johnson Sweeney, Herbert Read and Brian O'Doherty, the study explores the significant contribution of Irish modernist art to post-independence cultural debate and diverging notions of national Irish identity. Through an analysis of major controversies, the book examines how the reputations of major Irish artists was moulded by the prevailing demands of national identity, modernization and the dynamics of the international art world. Debate about the relevance of the work of leading international modernists such as the Irish-American sculptor, Andrew O'Connor, the French expressionist painter, Georges Rouault, the British sculptor Henry Moore and the Irish born, but ostensibly British, artist Francis Bacon to Irish cultural life is also analysed, as is the equally problematic positioning of Northern Irish artists.
This book mines the space where aesthetic expression meets lived experience for Irish artists Rita Duffy, Mairéad McClean, Paula McFetridge and Ursula Burke. Portrait essays woven with photographs, document each artist’s coming of age in Ireland and Northern Ireland, in the context of her emerging practice. As individuals, their work considers infringements on human rights, systemic violence, gender roles and the negotiation of figurative and literal borders and boundaries. Together, they interrogate past and present conflict and emergence from conflict, locally and globally. Their critical work is threaded with hope in the context of past and present political fragmentation. Works considered include Rita Duffy’s paintings, drawings and animation like Siege, The Emperor Has No Clothes and Anatomy of Hope; Mairéad McClean’s films No More, Broadcast and Making Her Mark; Paula McFetridge’s productions like convictions, staged at the Crumlin Road Courthouse, This is What We Sang, performed at the Belfast Synagogue and Belfast Quartered, A Love Story, a promenade through Belfast’s LGBTQ+ underground; and Ursula Burke’s sculptures like Bonfire, Blue Sphinx and Peach Caryatid, and embroidery like The Politicians Frieze.
Beautifully illustrated guide by a master woodcrafter presents 12 projects, with mix-and-match suggestions for creating dozens of spoons and other implements. Perfect for beginners, the book features clear, detailed directions.
"Meticulously researched, clearly written, completely engrossing . . . the work of a talented author." --"Ft. Lauderdale Sun-Sentinel"
Irish art of the early Christian era is justly celebrated. So, too, are the individual contributions of artists such as Jack B. Yeats. What is perhaps less widely accepted is the existence of a continuing and developing tradition of Irish art from the earliest times to the present day. Bruce Arnold traces the complex evolution of Irish art through three millennia, showing how it has drawn on Celtic, Anglo-Saxon, Norman, Mediterranean and other diverse sources. As the story unfolds, Arnold repatriates Irish artists who are frequently regarded as 'English'--including William Mulready, Daniel Maclise and James Barry--and shows how Irish painting and sculpture, illuminated manuscripts, metalwork and architecture together form a rich and distinctive cultural heritage.