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.
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?
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