Kathryn Milligan considers the cityscapes of artist Norah McGuinness, from her Baggot Street surrounds in Dublin to the Hudson in New York
Louise Neiland tells Aidan Dunne how colour is always central to the structure of her paintings
Seán Cotter creates arresting works of art that invite us to go beyond the image as spectacle, as Niamh NicGhabhann Coleman discovers
Born in Galway in 1955, now Dublin and Berlin based, Cecily Brennan has been exhibiting since the late 1970s and making art about pain for decades. Her exhibition, ‘Pressure’, at the Glucksman Gallery, pulls together several major works from the last twenty-five years, taking a laws-of-physics-style view of the theme: pain as a form of energy or force, and – in what feels like a neat nod to Newton’s third law of motion, pairing actions with equal and opposite reactions – pressure as a form of pain. It’s a theme rich in potential interpretations and one that has long been present in Brennan’s practice.
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Marie Lynch celebrates the life and work of illustrator and watercolour artist Naomi Heather
Genieve Figgis tells Aidan Dunne she likes to work in a way that leaves room for the unexpected to happen
Kenneth McConkey recounts the story of how two great Irish painters, John Lavery and William Orpen, recorded the greatest ballerina of her generation, Anna Pavlova
Margarita Cappock views works from Ann Quinn’s mid-career retrospective at Letterkenny’s Regional Cultural Centre
Liam Belton recalls the protests in the National College of Art between 1967 and 1971 that led to the formation of an autonomous board to oversee the running of the college. These developments, along with other major events of the period, are encapsulated in his artwork Homage to Paint and Protest
At a time when men dominated the profession, Mildred Anne Butler achieved parity as an artist with her distinguished male contemporaries, writes Tom Duffy
‘I suppose my approach to painting is very much a classical one,’ Maeve McCarthy tells Aidan Dunne as she reflects on her personal style
John O’Sullivan visits artist John Jobson at his home on the Little Sugar Loaf in County Wicklow
Painter and printmaker Ailbhe Barrett’s engagement with making, or ‘sculpting’ the copperplate to her will, results in work of transcendental emotional intensity, writes Angela Griffith
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
Darragh O’Connell’s portrait of his son Mick – winner of this year’s Ireland-U.S. Council and Irish Arts Review Portraiture Award at the RHA annual exhibition – is a painting of quiet, confident masculinity and a remarkable artistic achievement, writes Angela Griffith
John P O’Sullivan visits renowned horse painter Peter Curling at his home and studio in Tipperary
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 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
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
Ahead of her show at the Custom House Gallery in Westport, Brian Fallon explores the work of Ann Quinn
Aidan Dunne examines the richly textural grid-based paintings of Denis Farrell, finding work of great temporal depth
Julian Campbell outlines the expressive, emblematic ways in which artists have been drawn to the wild and rugged Atlantic landscape
Rose Jane Leigh’s importance as an early pioneering Wexford landscape painter and her choice of studying in Antwerp placed her at the centre of the major art movements of the 19th and early 20th century, writes Mary Stratton Ryan
Though best known for his landscapes and portraits, Blaise Smith has been painting still lifes for more than two decades and, writes Aidan Dunne, they are among his most personal and speculative works
Mike Fitzharris tells Brian McAvera of his attraction to colour captured in the brilliance of an Irish summer or Spain’s Andalucía
Cristín Leach talks with Cian McLoughlin, whose ongoing interest in the painting of crowds is ‘accidentally topical‚’
In a time when ‘visual culture‚’ can mean ‘words‚’, Jonathan Hunter continues to find rich possibilities in an insistently visual painterly language, writes William Gallagher
Cristín Leach looks at Maeve McCarthy’s new paintings as she prepares for her forthcoming exhibition at the Molesworth Gallery
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
Art critic Brian McAvera and artist Liam Belton recall the life and work of painter Michael Cullen
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
Medb Ruane reflects on Cléa van der Grijn’s visual treatise on loss and mourning on view at Solomon Fine Art, Dublin
Brian Fallon takes a renewed look at the work of Veronica Bolay, whose West of Ireland landscapes are among her strongest work
Louise Wallace looks at the work of Catherine McWilliams, whose survey exhibition is showing at the FE McWilliam Gallery
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
Recently elected ARHA Sinéad Ní Mhaonaigh is proof that the outward appearance of Academicians may change but the concern with discipline remains constant, Niamh NicGhabhann reports
Comhghall Casey is a keeper of ordinary things made extraordinary through his art, writes Isabella Evangelisti ahead of his exhibition at Solomon Fine Art this autumn
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
‘I’m trying to make the invisible visible’ Pat Harris tells Brian McAvera on the eve of his exhibition at the Taylor Galleries, Dublin
Brian McAvera wonders whether soulless consumerism is the message in Ian Cumberland’s dramatically installed artworks recently shown at Golden Thread Gallery in Belfast
