It is almost twenty years since the National Gallery of Ireland received a surprise bequest from Máire MacNeill and her partner John (Jack) Lincoln Sweeney. Kevin Kelly tells the happy story
Adriann E Waiboer discusses an unusual work from the oeuvre of 17th-century Dutch artist Aelbert Cuyp recently acquired for the National Gallery
George Bernard Shaw’s gift to the National Gallery dramatically increased its buying power; Peter Somerville-Large recalls its investment by subsequent directors
Brendan Rooney evaluates George Collie’s genre scene, a gritty exception to the mainstay of the artist’s practice
Sean Rainbird selects Flanders Fields by William Crozier, a new acquisition for the National Galllery of Ireland
Recently appointed Director of the National Gallery of Ireland, Sean Rainbird, reinvented the exhibition programme at the Staatsgalerie, Stuttgart; Nicola Gordon Bowe asks him about his plans for the State Collection while the NGI is undergoing refurbishment.
In the 19th century a flurry of interest in Ireland’s scenic beauty prompted a young drawing master from Eton William Evans to travel to Connemara; Anne Hodge examines his recently acquired portfolio in the National Gallery of Ireland
As the directors of several National Cultural Institutions prepare to retire this year JOHN MULCAHY poses the question: is there an intention to downgrade their roles to executive managers – and if so, why?
Gabriel Metsu, who died in 1667 at the young age of 37, has had his status re-evaluated a number of times in the intervening centuries; Adriaan Waiboer provides an expert insight into the subject of the National Gallery of Ireland’s tribute exhibition.
Fionnuala Croke selects a painting attributed to Juan Do from the collection at the National Gallery of Ireland.
Julian Walton discusses the brilliant but tragically short career of 18th-century landscape artist Thomas Roberts, the subject of an exhibition at the National Gallery of Ireland
Paul Caffrey gives an account of Hugh Douglas Hamilton, Ireland’s leading portrait painter, and the subject of a forthcoming exhibition at the National Gallery of Ireland in this, the bicentenary year of the artist’s death
From the renovation of the Shaw Room to the momentous rediscovery of a masterpiece, Sergio Bendetti recalls his career, spanning three decades, at the National Gallery of Ireland
Anne Hodge previews a collaborative exhibition featuring contemporary prints by Graphic Studio Dublin, whose point of inspiration was the permanent collection at the National Gallery of Ireland
Van Gogh’s Rooftops in Paris is a transitional work, showing early signs of his later, signature brushwork, argues Adriaan E Waiboer
In 1869, Henry Doyle became the second Director of the fledgling National Gallery, Anne Hodge recalls his initiatives in shaping the first-class collection on view today
Simone Mancini and Adrian Le Harivel select a painting from the Care of the Collection display at the National Gallery of Ireland
Hilary Pyle remembers James Stephens, a writer of stature, whose account of the Easter Rising while Registrar at the National Gallery comes into focus in the current display at the Gallery
Resplendent in its latest reconstruction, the National Gallery of Ireland needs a new and inspiring ‘Mission’ that places Irish art and artists at the centre of its activities, argues John Mulcahy
Carla Briggs considers the most potent chapter in Margaret Clarke’s career and the aspirations that fuelled her creativity
Was Daniel Maclise a proto-Nationalist painter? Peter Murray thinks not, in his assessment of the National Gallery’s recently restored masterpiece.
Muirne Lydon reveals the original brilliance of Murillo’s Prodigal Son as degraded varnish and old restorations are painstakingly removed from the 17th-century series at the National Gallery of Ireland