Marie Bourke looks at the career of William Mulready, a painter of genre, landscape and informal portraits, as well as an illustrator, art advisor and art educator
Brian Fallon travels to Roscommon where he enjoys the landscapes of artist Malachy Costello
Kathryn Milligan finds that the tension between Patrick Leonard’s representational art and its contrast with high Modernism is peppered throughout the critical response to his work
Tricia Cusack considers past portraits of women readers that position them as independent thinkers and intellectuals
Irish artists, both professional and amateur, have made a lasting contribution to the world of botanical illustration, writes Patricia Butler
Emer McGarry reviews works in an exhibition at The Model in Sligo featuring newly discovered and restored watercolours by Jack Butler Yeats, and discusses the background to their creation
Julian Campbell outlines the expressive, emblematic ways in which artists have been drawn to the wild and rugged Atlantic landscape
Fionnuala Croke charts the formation of the remarkable Chester Beatty collection of Japanese printed works
Kenneth McConkey considers works by John Lavery, painted during the artist’s frequent sojourns at home and abroad
John P O’Sullivan visits painter Martin Gale at his home and studio in County Kildare
Shevaun Doherty tells John P O’Sullivan that a trip to Kew Gardens in London with her aunt decided her vocation
Lorna Corrigan’s paintings are simultaneously riotous, explosive and exuberant, writes Catherine Marshall
Aidan Dunne visits the survey exhibition of painter Richard Gorman at the Hugh Lane Gallery
I’m always looking for an elemental quality,‚’ artist David Smith tells Aidan Dunne
John P O’Sullivan finds that a constant feature in David Eager Maher’s work is his inclusion of art-history references
Eileen Black recounts the life and work of Post-Impressionist painter, Georgina Moutray Kyle
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
Dublin artist Francis Matthews manages to give the impression of reality without becoming enmeshed in itemising endless physical detail, writes Aidan Dunne
John P o’Sullivan previews Hughie o’Donoghue’s latest suite of paintings of diverse historic characters spanning 1,500 years of history
Aidan Dunne examines the richly textural grid-based paintings of Denis Farrell, finding work of great temporal depth
Margo Banks is so instinctively attuned to her subject that her energetic approach and her subject matter are inseparable, writes Isabella Evangelisti
Tom Climent’s recent paintings appear to edge more and more away from pure abstraction, writes Mark Ewart
Angela Griffith appraises Paul MacCormaic’s painting of Lucky Khambule, this year’s winner of the Ireland–U.S. Council and Irish Arts Review Portraiture Award
Peter Harbison follows the route to Howth from Dublin painted by Victorian artist Edward McFarland
Mary Stratton Ryan outlines the life and work of artist Phoebe Donovan ahead of an exhibition of her works during the Wexford Arts Festival
Philip McEvansoneya explores the work of John Currie, an artist not well known in Ireland, even though he visited the country, painted Irish subjects and exhibited in Dublin
Seán Kissane explores the work of Kevin Mooney, in which complex webs of history and cultural references abound
Aidan Dunne talks to painter Martin Mooney about his career and the development of his work
Isabella Evangelisti visits the MAC in Belfast, where the work of selected painting graduates from Belfast School of Art is on show
John P O’Sullivan investigates painterly values and pitfalls with Donald Teskey, ahead of his mid-career survey at the RHA