Colin Davidson, Portrait of Basil Blackshaw, 2012
It is with great sadness that we learn of the recent death of Basil Blackshaw (1932–2016), an artist who ploughed his own furrow; he was widely admired for his great talent, playful sense of humour and humility. These qualities made the Antrim-born artist disarming in person but his commitment to his work was never in doubt. Recognized as a brilliant draughtsman, Blackshaw continued to develop and surprise throughout his career. Blackshaw’s art graced the pages of the Irish Arts Review many times, his achievement was memorably described by Brian Fallon thus ‘With a career stretching back over roughly six decades, Basil Blackshaw could justly claim to have added an entire dimension, or at the very least an extra chapter, to Irish painting.’
We republish here from the archive, Far from the madding crowd by Brian Fallon (Irish Arts Review, Summer 2012) and Blackshaw’s World by Riann Coulter (Irish Arts Review, Winter 2008).
Irish Arts Review, Winter 2002
Irish Arts Review, Summer 2012
Basil Blackshaw, Dolly, 1989
Castletown House, Ireland’s largest and finest Palladian mansion, has lain closed to the public since last September – all because of a dispute about access and parking.
At the 42nd Annual General Assembly of Aosdána, the organisation whose members are honoured for their contribution to the arts in Ireland, Sinéad Ní Mhaonaigh was the sole visual artist to join the ranks.
Representing Ireland at the 60th Venice Biennale, Eimear Walshe (they/them) presents Romantic Ireland, curated by Sara Greavu with Project Arts Centre, Dublin.