Stephanie McBride regards Norman McCloskey’s unpeopled images that expose the West of Ireland landscape in all its temperaments
Anna Campbell has maintained a remarkable consistency in terms of both technical skill and artistic vision, writes Riann Coulter
Aidan Dunne examines the richly textural grid-based paintings of Denis Farrell, finding work of great temporal depth
Alastair MacLennan recalls working with artist Declan Byrne, whose mid-career retrospective was recently mounted at Kilfane Glebe House in County Kilkenny
Mark Ewart finds that the weight of art history and the lineage of landscape painting is never far away in Bridget Flannery’s work
Corban Walker tells Brian McAvera of the inherent conundrum in his practice. ‘How do you use a transparent material or a transparent form to articulate volume?’
Patricia Butler traces the artistic path and output of one of Ireland’s great botanical artists, Susan Sex
Fionnuala Croke charts the formation of the remarkable Chester Beatty collection of Japanese printed works
Julian Campbell outlines the expressive, emblematic ways in which artists have been drawn to the wild and rugged Atlantic landscape
Peter Harbison proposes that images on high crosses represent ‘good’ on their south-facing side and ‘bad’ on their north – the direction from which evil was thought to have come in medieval times
Julian Walton and William Fraher explore the magnificent Curraghmore House in County Waterford, where, three hundred years ago, the union of two families produced the most powerful dynasty in late Georgian Ireland
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
