Mary Swanzy is a major figure in Irish art, but also a complex, isolated one with whom we have yet to come to terms, writes Brian Fallon, as IMMA launches an exhibition of her work as part of the Modern Masters series
On the centenary of the artist’s birth, Brian Fallon revisits some personal recollections of George Campbell’s Spanish period
Michael Kane has not only forged a style, he has helped substantially to forge the style of others, writes Brian Fallon ahead of the Hugh Lane Gallery’s survey exhibition in October
Brian Fallont races the cosmopolitan influences at work in the painterly language of Makiko Nakamura
Brian Fallon traces painterly antecedents in the work of that most European of artists, Stephen McKenna, ahead
of his thematic exhibition at Dublin City Gallery the Hugh Lane
Visionary or Magic Realist? Brian Fallon evaluates the art of Patrick Hennessy
Marking the centenary of his birth, Brian Fallon considers the work of artist Richard Kingston
Caroline Scally refuses to be categorised and was generally recognised for what she was, a natural-born talent who followed her own track, writes Brian Fallon
Brian Fallon takes a renewed look at the work of Veronica Bolay, whose West of Ireland landscapes are among her strongest work
Unlike most Irish artists, colour is the very essence of Daniel O’Neill’s work and his time to re-enter the spotlight is overdue, writes Brian Fallon
Ahead of her show at the Custom House Gallery in Westport, Brian Fallon explores the work of Ann Quinn
Ahead of her exhibition in Dublin, Brian Fallon looks at the work of artist Carol Hodder
Brian Fallon remembers a modest exhibition that began a love affair with the work of Harry Kernof
Brian Fallon travels to Roscommon where he enjoys the landscapes of artist Malachy Costello
It becomes increasingly clear that Nano Reid was ahead of her time and milieu, writes Brian Fallon