Michael Waldron considers the drawing and painting of the celebrated writer Edith ΠSomerville
Mary Stratton Ryan outlines the life of artist Elizabeth Rivers, highlighting the woodcuts she created of the islanders of Inishmore
Emer McGarry offers insights into works included in the thematic exhibition ‘Inheritance’
Yvette Monahan’s images, with their reticent grace, draw us into a strange, charmed and fragile world, writes Stephanie McBride
Yvonne Scott celebrates some seminal works in the practice of artist Kathy Prendergast
Cristín Leach talks to painter Brian Harte about his new exhibition and how Instagram led to sudden international success
Robert Armstrong remembers the painter Michael Cullen, whose work is celebrated in an exhibition in the Waterford Gallery of Art
Emma Berkery’s intense involvement with the process of painting lends a layered complexity to her work, writes Isabella Evangelisti
Cristín Leach considers Catherine Barron’s mid-career retrospective, which draws on the artist’s life experience
Aidan Dunne talks to Ailbhe Ní Bhriain, in whose new exhibition period images are spliced together in vistas of subterranean worlds
The exhibition treats the archive as a tool for building new futures, writes Seán Kissane
Emer McGarry considers the work of Marianne Keating, which brings to light overlooked stories of Irish migration, labour and resistance
From 1960, when a chance meeting with Cecil King led to his work being included in a show at the Ritchie Hendriks Gallery, Dublin, Michael Kane was a formidable, indomitable presence in Irish cultural life.
In many pictures Harriet Kirkwood seems to be telling a story, and the story is life itself, which infuses her painting, writes Hilary Pyle
Joseph McBrinn examines one of the most fascinating partnerships in Irish art history
Margarita Cappock visits Barbara Knežević’s exhibition, in which she explores her Balkan heritage through sculpture and film
The unstretched quilted creations that grew out of Sam Gilliam’s time in Ireland lie between the improvisations of his stained drape paintings and the rigour of his stretched collaged compositions, writes John Beardsley
Exposure to different cultures gives Fergus Fitzgerald’s work a joyous energy, as Eamonn Maxwell discovers
From the outset, Rachel Joynt’s work has been characterised by a sense of the infinite and the immediate, writes Peter Murray
Zsolt Basti talks to Francis Halsall about his accomplished practice, in which abstraction is an act of empathy
Joseph Malachy Kavanagh was one of a talented generation of young Irish artists who studied in Dublin, Antwerp or Paris and who introduced the radical Continental influences of Realism and Impressionism to Irish art, writes Julian Campbell
Kathryn Milligan considers the cityscapes of artist Norah McGuinness, from her Baggot Street surrounds in Dublin to the Hudson in New York
Marie Lynch celebrates the life and work of illustrator and watercolour artist Naomi Heather
Jean Pasley tells the story of writer Patrick Lafcadio Hearn, the inspiration behind a touring print exhibition by Irish and Japanese artists
This exhibition places Irish artists of different generations alongside international figures in unexpected juxtapositions that enrich how Irish art can be understood, writes Seán Kissane
Paula Murphy celebrates the work of one of Ireland’s most esteemed sculptors, John Henry Foley
At a time when men dominated the profession, Mildred Anne Butler achieved parity as an artist with her distinguished male contemporaries, writes Tom Duffy
Ann Wilson explores Harry Clarke’s only stained-glass windows in Kerry, which feature fairytale elements unusual in a religious setting
Julie Brazil and Emer McGarry look at Jack Butler Yeats’ images of Irish Travellers and the wandering poor, which provide a glimpse of his consistent interest in those who lived a nomadic life
Riann Coulter traces the path of the sculptor Hilary Heron, whose retrospective exhibition is showing at the Irish Museum of Modern Art
Aidan Dunne finds in the paintings of Anita Shelbourne subjects woven into the very fabric of environment
Dickon Hall considers the work of Northern Irish artist Arthur Armstrong on the centenary of his birth
Logan Sisley salutes an indomitable and towering figure in Irish art, Sarah Purser
Mary Stratton Ryan traces the life and career of Wexford-born artist Francis Alfred Danby
Martha Severens tells the story of Henrietta de Beaulieu Dering Johnston, who travelled from Dublin to Charles Town, South Carolina, becoming America’s first professional woman artist
Once prominent in Irish life, the vicereines and their legacies are largely overlooked, but the faces of these women have now been afforded a place on the walls of Dublin Castle, writes Myles Campbell
Gabriel Hayes was invariably identified in the press as a woman, wife, mother and grandmother before being acknowledged as an artist, which distracted from serious critical reception of her work, writes Paula Murphy
Kathryn Milligan traces the career of Harry Aaron Kernoff, whose art was inspired by city life
One gets the sense that Ralph Cusack was always looking for the next project in which to throw himself, writes Adam Pearson
Flannagan was ecstatic about his first encounter with Ireland and particularly the abundance of different stones lying in the fields in Connemara, writes Paula Murphy
James Gorry recalls the unique life and work of semireclusive painter Jeremiah Hoad, who quietly pursued his ‘gentle art’
Catherine Manthorne recounts the life and work of the Irish American landscape artist Eliza Pratt Greatorex
On the fiftieth anniversary of her death, Michael Waldron assesses the work of Cork artist Sylvia Cooke-Collis
Artist Charles Lamb’s paintings conveyed a romantic ideal of the new Ireland, writes Marie Bourke
Artist Frances Kelly didn’t aim for exact likenesses in her portraits of people or flowers, but rather for some inner, more abstract, significance, writes Hilary Pyle
Barbara Warren’s work, rather than startling or imposing on the eye, invites the spectator to come in, writes Hilary Pyle
Hilary Pyle recalls the artist Hilda Roberts, two-time winner of the RDS Taylor Art Award, whose talents were apparent from an early age
Like an orchestral conductor, the artist Genieve Figgis encourages and cajoles the passages of paint in her work, writes Cian McLoughlin
Nuala Clarke describes her process as excavating what’s on the inside, writes Isabella Evangelisisti
Joy Gerrard uses media images to re-image and memorialise crowd events, writes Margarita Cappock
Locky Morris is a master of finding beauty and humour in the everyday, writes Riann Coulter
A collection of drawings and watercolours by Cork artist Daniel Macdonald display his skill as a draughtsman and his wry wit, writes Niamh O’Sullivan
Francis Halsall previews new paintings from Mark Francis which expand the boundaries of the grid to suggest the interconnectivity of today’s network society
Davey Moor explores the qualities of light as a medium for sculpture as seen in a group show at Solstice, Co Meath
The six artists selected for Futures have succeeded in reaching an important milestone in their careers, writes Pádraic E Moore
‘The world changed for me’. Hilary Pyle remembers Melanie le Brocquy’s realisation that sculpture was to be her métier when she discovered the sculpture studio at art school
Mark Ewart visits Rachel Doolin’s studio as she finalises her installation for the Doswell Gallery, Cork based on her residency in Svalbard
Tom McLean caught the imagination of our readers in our 8 under 40 feature: here Una Sealy meets the emerging artist making a name for himself
Mic Moroney meets Kilkenny’s first family of creatives, war photographer Richard Mosse, potter Nicholas, and artists Tania and Paul whose Quaker background influences
their daily lives.
Seán Ó Laoire appraises a new study by Fergal MacCabe of part-visionary, part polemicist, townplanner and architect Frank Gibney
Freedom of cultural expression was the rallying call of an arts group formed in 1925 and led by Liam O’Flaherty and Cecil Salkeld, as Brian Trench recalls
Peter Murray pays tribute to the scholar and artist whose meticulous recording of Irish antiquities in the 19th century remains an invaluable resource today
James Hanley examines the art of Brian Palm whose love of the sea made him an ideal designer for An Post’s RMS Leinster stamp launching in October
Peter Murray separates fact from polemic in the protracted dispute between Piranesi and his elusive patron James Caulfeild
Hilary Pyle pays tribute to May Guinness who joined the artistic vanguard in Paris and went on to distinguish herself as a nurse during the Great War
Gerard Long reflects on the legacy of avid collector Joseph Holloway whose unflagging passion continues to enrich the study of Dublin’s cultural history
Nicola Gordon Bowe pens a sketch of Joseph Campbell the influential poet of the Irish Revival
Rita Duffy takes a fresh look at the Hunt Museum Collection and uncovers resonances both witty and profound between history and today, writes Niamh NicGhabhann
Robert Ballagh has long been recognised for his political engagement; BRIAN McAVERA asks him to enlarge on the artist’s position in
society ahead of his retrospective at the RHA in September
An attraction to the clear compositions of the early Renaissance and the tensions inherent in German Expressionism may seem incompatible, but, as Michael Kane explains to BRIAN McAVERA, both styles have had a direct influence on his work
Peter Murray remembers the talented artist, Robert Gregory, son of Lady Gregory of Coole Park, whose surviving works are testament to unfulfilled promise
Brendan Rooney visits Cian McLoughlin’s studio, as the Dublin born artist prepares for his first solo show in New York
Gerry Dukes follows the money as hubris and greed fall victim to Tom Fitzgerald’s pen, as seen in his exhibition of watercolours at Limerick City Gallery as part of City of Culture
Frances Ruane applauds the role played by Fergus Ahern in the development of his community’s Civic Art Collectio n as the RHA hosts an exhibition curated from its holdings
Brian McAvera pays tribute to Edward Murphy whose personal commitment to the development of Irish art research will reap immeasurable benefits for generations
Catherine Marshall visits the studio of Hennessy Craig prize-winner Mollie Douthit as she prepares for a solo exhibition at the Royal Hibernian Academy in 2015
Marianne O’Kane Boal hopes a touring retrospective on the work of Brian Ballard will convey the full trajectory of his practice from figuration to abstraction
Stephanie McBride draws parallels between recent photography and new works on video by Anthony Haughey to be shown at Limerick City Gallery of Art
Farrell explores the ways in which Susan Connolly, Judy Carroll-Deeley and Jennifer Trouton forge their own vision of oil on canvas at the Solstice in Navan
Caoimhín Mac Giolla Leith reflects on the constants within Charles Tyrrell’s practice as this uncompromising modernist prepares for his 40th anniversary exhibition in April
Brian McAvera considers the leap from all to gallery as a new generation of artists like Conor Harrington successfully negotiate both arenas
Is there a perceptible trait to Irish art? Frances Ruane wonders the questions as 70 artworks drawn from the AIB and Crawford collections go on view in London
James Hanley pinpoints the hallmarks of a ‘painter’s painter as seen on Joe Dunne’s meditative suite of paintings on view at the RHA
Brian McAvera anticipates a deepening appreciation for the work of Northern artist T P Flanagan following his retrospective at Bonhams, Dublin this March
Has capturing the pattern of everyday life put Hector McDonnell among the ‘Kitchen Sink’ School; or is he as he claims, an Impressionist? Brian McAvera asks the questions
Gottfried Helnwein’s imagery is confrontational but this provocation is ultimately designed to jolt us from complacency writes Mic Moroney
The strong decorative element within Kathleen Holohan’s paintings reflects a sympathetic celebration of the ordinary, Gerry Walker
Hilary Pyle remembers Sarah Purser’s retrospective of Nathaniel Hone in 1901 and its far-reaching role in raising the profile of Irish contemporary art
Eimear O’Connor pays tribute to Margaret Irwin-West, who quietly embodies Jean Paul Sartre’s dictum
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
Imelda Kilbane’s paintings are hewn from the wild and rugged Achill Island in County Mayo, writes Mark Ewart as the artist’s first solo exhibition
Brian McAvera examines a provocative new series from Colin Davidson, which brings us face to face with those who have been overlooked in Northern Ireland’s hard-won peace
Eilis O’Brien previews a selection of sculpture by Eamonn Ceannt who draws inspiration from the dynamic form of dancers in movement currently on view at Gormley’s Fine Art, Belfast
‘I like painting with a gun to my head,· Nick Miller tells Brian McAvera about techniques he’s adopted in order to capture immediacy in his art
William Gallagher tracks Janet Mullarney’s installation from its debut at the Highlanes Gallery to its currents setting in the Butler Gallery, Kilkenny
Blaise Smith’s intention for his new suite of paintings on view at the Molesworth Gallery in Dublin, is to provide a place ‘where the eye can rest’, he tells Angela Griffith
Peter Murray remembers the multi-talented artist-composer Brian Boydell
Daphne Wright is known for her unsettling sculptural installations that tap into the fragility of the human condition: in conversation with Bnan McAvera she recalls the source of her inspiration
Brenda Moore-Mccann visits the Sligo studio of Michael Wann as he prepares for a solo exhibition at the Cross Gallery, Dublin in April
Carissa Farrell discovers that no aspect of the human condition escapes Vera Klute’s focus as she marshalls her multi-disciplinary skills in preparation for her show at the Moelsworth Gallery in May
Brian Fallont races the cosmopolitan influences at work in the painterly language of Makiko Nakamura
The theme of sexuality was often overlooked in Patrick Hennessy’s work, but a new exhibition at IMMA marking his centenary offers an opportunity to assess its role in his art, writes Sean Kissane
Riann Coulter points to some highlights from David Crone’s forthcoming retrospective hosted at the FE McWilliam Gallery
Judith Hill examines the political content of Robert Ballagh’s survey exhibition at the Hunt Museum, Limerick
Plein air or plein foolhardy? Joe Wilson takes on the Beara, writes James O’Nolan ahead of the artist’s solo show at the Catherine Hammond Gallery, Skibbereen, Co Cork
Neal Greig tells Mark Ewart of his sense of wonderment’ at being in the landscape ahead of his exhibition at the Claremorris Gallery, Co Mayo in August
Janet Mullarney’s belief in the power of materials to give life to ideas is seen in the art she has curated for Farmleigh Gallery, Dublin, on view this summer, writes Carissa Farrell
The aesthetics of the digital age are invoked in Diana Copperwhite’s new paintings at the RHA, writes Yvonne Scott
Nicola Gordon Bowe previews multidisciplinary work by four artists inspired by their location in Co Clare showing at Origin in September
As Maser prepares for his Graphic Studio Gallery debut, his recent controversy with Dublin City Council reminds us he’s a street-writing man, writes Mic Moroney
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
Mic Moroney guides us through the fabulous scenes created by Polish-born, Dublin-based artist Andrzej Mazur who is currently exhibiting at the RUA 135th Annual Exhibition
Angela Griffith previews a new suite of paintings from Geraldine O’Neill, recent winner of the lreland-U.S. Council/Irish Arts Review Portraiture Award
Light drives the focus and the atmosphere in Kevin Cosgrove’s series on unpeopled workspaces, writes James Hanley as Cosgrove’s solo show continues at the Butler Gallery, Kilkenny
It is tempting to see Felim Egan as both composer and conductor, setting out his theme, writes James O’Nolan of the artist’s return to exhibition in Dublin
In ·zxx at the RHA, abstract painter John Cronin presents his latest examination of painting in the age of the Internet and artificial intelligence, writes Luke Naessens
Frank McDonald recalls the Irish Architectural Archive’s mission ‘to collect and preserve’ an ambition admirably demonstrated in their 40th anniversary exhibition ‘House and Home’
Nicola Gordon Bowe recalls the close friendship that was kindled in art school and forged in adulthood between William Orpen and Beatrice Elvery
As winner of the Hennessy portrait prize Gerry Davis has cause for celebration; yet his recent series illustrating dormant studios shows the stark reality for many of his peers, writes Donal Maguire
Michaele Cutaya looks forward to Cecilia Danell’s solo show at the Galway Arts Centre inspired by time the artist spent in Sweden and Norway
Art picks up where nature ends, writes Gerry Walker of Dermot McNevin’s new paintings
Sarah Kelleher reports on Jesse Jones’ collaborative project for the 57th Venice Biennal featuring Olwen Fouere and sound by Susan Strenger
Deirdre Kelly sheds light on AE Russell’s ‘dream’ paintings as Armagh County Museum honours a native son with an exhibition marking the 150th anniversary of his birth
Nathaniel Hone excelled at capturing the great outdoors, whether pastoral or coastal: to mark his centenary Julian Campbell examines his dramatic County Clare marine works
Donal Maguire sees an elegant statement on the interconnectedness of all things in David Beattie’s installation at IMMA
A love of art and its history formed the basis of Anne Crookshank’s integrity, writes Edward McParland in this tribute to the indomitable art historian
Mary Stratton Ryan outlines the life and work of artist Phoebe Donovan ahead of an exhibition of her works during the Wexford Arts Festival
Síghle Bhreathnach-Lynch remembers a leading member of the Celtic Revival, artist Mia Cranwill
Brian Fallon remembers a modest exhibition that began a love affair with the work of Harry Kernof
