Michael Waldron looks at the life and works of prizewinning artist Nóirín Ní Chuill
‘At the Oireachtas Art Exhibition at Charlemont House, Parnell Square, Dublin, something of a sensation has been caused by a painting, “L’Ameto de Boccacio” [sic].’ Thus opined the Sunday Independent on its front page in October 1951, referring to a work by ‘a young girl from the Munster Gaeltacht’. Nóirín Ní Chuill, who was then just shy of her twenty-seventh birthday, had been steadily building a reputation over the previous decade.
To read this article in full, subscribe or buy this edition of the Irish Arts Review
Barbara Dawson selects Lavacourt under Snow by Claude Monet (1840–1926)
Ann Wilson examines Kitty O’Brien’s Crossing the Bar, a composition in stained glass that functions as a metaphor for hope
Kenneth McConkey explores the use of archways in mise-en-scène works by artist William Orpen