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Chausables made at the Dún Emer Guild for St. Brendan's Cathedral, Loughrea (1902-1903)
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Image is present on following page(s): Themes in Irish Art, Themes in Irish Art, Gallery & Questions, Gallery & Questions, Themes in Irish Art
Chausables made at the Dún Emer Guild for St. Brendan's Cathedral, Loughrea (1902-1903) -
Virgin Shroud (1993) by Dorothy Cross (b.1956)
Virgin Shroud (1993) by Dorothy Cross (b.1956). Cow hide, satin train, steel structure. The combination of cow’s udder (to form a bridal crown) and pure white dress, indicates the contradictions of traditional marital expectations, between virgin purity and reproductive nurturing. The ‘shroud’ of the title suggests such marriage was an end rather than a beginning.
Courtesy of the Kerlin Gallery, Dublin
Image is present on following page(s): Themes in Irish Art, Themes in Irish Art, Themes in Irish Art
Virgin Shroud (1993) by Dorothy Cross (b.1956) -
Wall-painting, Knockmoy Abbey, Co. Galway
Wall-painting, Abbeyknockmoy (Co. Galway) showing the attempted martyrdom of St Sebastian, and the Dance of Death.
Courtesy of the Photographic Unit, Department of the Environment, Community and Local Government
Image is present on following page(s): Themes in Irish Art, Themes in Irish Art, Themes in Irish Art
Wall-painting, Knockmoy Abbey, Co. Galway -
Death Notice of Frank O'Meara
Death Notice for artist Frank O'Meara as published in the Carlow Sentinel October 1888. His death occurred on the 15th of October 1888 from malaria. He died at his home in Dublin Street, Carlow.
Carlow County Library
Image is present on following page(s): Frank O'Meara (1853-1888), Frank O'Meara (1853-1888), Frank O'Meara (1853-1888)
Death Notice of Frank O'Meara -
The Falconer
The Falconer, 1853 by Daniel Maclise
Crawford Art Gallery, Cork
Image is present on following page(s): Maclise, the History Painter, Daniel Maclise, Daniel Maclise
The Falconer -
The Meeting of Wellington and Blücher
The Meeting of Wellington and Blücher, 1861 by Daniel Maclise
Courtesy of Cork City Libraries
Image is present on following page(s): Maclise, the History Painter, Daniel Maclise, Daniel Maclise
The Meeting of Wellington and Blücher -
Mass in a Connemara Cabin (1883) by Aloysius O’Kelly (1853-c.1951)
Mass in a Connemara Cabin (1883) by Aloysius O’Kelly (1853-c.1951) illustrates a practice common in rural locations in Ireland at the time. Note the picture of the Sacred Heart on the wall, an image that was common in Irish Catholic homes until well into the 20th century. Such images were usually mass-produced prints of works by relatively unknown artists. Courtesy of the National Gallery of Ireland. On loan to the NGI from the people of St. Patrick's Edinburgh and the Trustees of the Archdiocese of St. Andrew's and Edinburgh
Photo (c) National Gallery of Ireland (c) The Artist's Estate
Image is present on following page(s): Themes in Irish Art, Themes in Irish Art, Gallery & Questions, Gallery & Questions, Themes in Irish Art
Mass in a Connemara Cabin (1883) by Aloysius O’Kelly (1853-c.1951) -
Chausable made at the Dún Emer Guild for St. Brendan's Cathedral, Loughrea.(1902-1903)
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Image is present on following page(s): Themes in Irish Art, Themes in Irish Art, Gallery & Questions, Gallery & Questions, Themes in Irish Art
Chausable made at the Dún Emer Guild for St. Brendan's Cathedral, Loughrea.(1902-1903) -
Strongbow (1978/2000) by James Coleman (b.1941)
Strongbow (1978/2000) by James Coleman (b.1941) incorporates video, sound, and a sculptural effigy of the 12th century knight, Strongbow, in an installation work that explores the origins and consequences of colonialism in Ireland. Video installation. Resin cast mould, Sony Art Couture monitor, audio equipment and speakers, polystyrene packing, scaffold tower, packing boxes, lighting. Photograph McCrea. Collection Irish Museum of Modern Art (Purchase 1991), Military Road, Kilmainham, Dublin 8, Ireland http://www.imma.ie/en/index.htm
Image courtesy of James Coleman ©
Image is present on following page(s): Irish Art Today, Irish Art Today, Irish Art Today
Strongbow (1978/2000) by James Coleman (b.1941) -
Éire (1907) by Beatrice Elvery (1881-1970)
Beatrice Elvery (1881-1970), Éire (1907), personifies Ireland as a Madonna type figure, with the new Ireland suggestive of the baby Christ. Elvery draws on early Renaissance conventions, such as the Maesta arrangement of the enthroned Madonna with saints in the background. Note St. Patrick on the left, and the protection of ‘souls’ within her saintly cloak. The ‘halo’ provided by the High Cross connects her to ancient Irish culture.
Collection of Lady Davis Goff
Image is present on following page(s): Themes in Irish Art, Themes in Irish Art, Themes in Irish Art
Éire (1907) by Beatrice Elvery (1881-1970) -
The Fraserian Circle
The Fraserian Circle frontispiece to 'The Maclise Portait Gallery - A Gallery of Illustrious Literary Characters' (1830-1838)
Courtesy of Cork City Libraries
Image is present on following page(s): Royal Academy and the Fraserian Circle
The Fraserian Circle -
The Marriage of Strongbow and Aoife (1854) by Daniel Maclise (1906-1870)
The Marriage of Strongbow and Aoife (1854) by Daniel Maclise (1906-1870). This significant event in Irish history is depicted as a sacrifice. The burning of Waterford city in the background, and Strongbow’s sword resting on a broken high cross symbolise the destruction of Ireland’s rich cultural history with the coming of the Anglo-Normans. Courtesy of the National Gallery of Ireland
Photo (c) National Gallery of Ireland
Image is present on following page(s): Mythology, Mythology, The Marriage of Strongbow and Aoife, Daniel Maclise, Daniel Maclise, Mythology
The Marriage of Strongbow and Aoife (1854) by Daniel Maclise (1906-1870) -
Crowning of the Victors at Olympia
Crowning of the Victors at Olympia with Barry as Timanthes
Courtesy of Cork City Libraries
Image is present on following page(s): Barry's Greatest Project in Art, James Barry, James Barry
Crowning of the Victors at Olympia -
Snap Apple Night
Snap Apple Night or All Hallows Eve by Daniel Maclise painted in 1832
Crawford Art Gallery, Cork
Image is present on following page(s): The Marriage of Strongbow and Aoife, Daniel Maclise, Daniel Maclise
Snap Apple Night -
Temptation of Adam
The Temptation of Adam or Adam and Eve
Courtesy of Cork City Libraries
Image is present on following page(s): Sojourn at Rome and the Painting of History
Temptation of Adam -
Entering Jerusalem 3 (1994 – 96) by Hughie O'Donoghue (b.1953)
Entering Jerusalem 3 (1994 – 96) by Hughie O'Donoghue (b.1953) is one of a series of works by this artist on the Passion of Christ. It sympathetically explores the events leading to the crucifixion, and relates them generally to the suffering of humanity. The warm dark tones and sfumato (smokey) treatment suggests emotion. Oil on canvas, 3 panels 280 x 744 cm Permanent Loan, The American Ireland Fund, 2006. Collection Irish Museum of Modern Art, Military Road, Kilmainham, Dublin 8, Ireland http://www.imma.ie/en/index.htm
Copyright Hughie O'Donoghue Studio
Image is present on following page(s): Themes in Irish Art, Themes in Irish Art, Themes in Irish Art
Entering Jerusalem 3 (1994 – 96) by Hughie O'Donoghue (b.1953) -
View of Cork from Audley Place
Detail from Butts' "View of Cork from Audley Place", c. 1760 showing Dutch-style houses on the left, and the 1724 Custom House on the right
Crawford Art Gallery, Cork
Image is present on following page(s): Barry's Boyhood and Early Training
View of Cork from Audley Place -
King Lear Weeping over the Body of Cordelia
King Lear Weeping over the Body of Cordelia by James Barry, painted c. 1786
Courtesy of Cork City Libraries
Image is present on following page(s): James Barry's Last Years, James Barry, James Barry
King Lear Weeping over the Body of Cordelia -
Tarpean Rock
'Tarpean Rock, Italian Street Scene, with Ruined Buildings', pen and ink with grey wash, c. 1770 by James Barry
Courtesy of Cork City Libraries
Image is present on following page(s): Sojourn at Rome and the Painting of History, James Barry, James Barry
Tarpean Rock -
Drunken Faun - Detail
Detail from Drunken Faun, 1826 by John Hogan
Crawford Art Gallery, Cork
Image is present on following page(s): Hogan's life in Rome, John Hogan, John Hogan
Drunken Faun - Detail -
The Phoenix or Resurrection of Freedom
'The Phoenix or Resurrection of Freedom', etching with engraving, by James Barry c. 1776
Courtesy of Cork City Libraries
Image is present on following page(s): James Barry's Last Years, James Barry, James Barry
The Phoenix or Resurrection of Freedom -
Detail from 'Crowning the Victors at Olympia'
Detail from 'Crowning the Victors at Olympia' showing Barry as Timanthes
Courtesy of Cork City Libraries
Image is present on following page(s): Barry's Greatest Project in Art, James Barry, James Barry
Detail from 'Crowning the Victors at Olympia' -
Mrs Lavery sketching, 1910
This is a portrait of his wife, Lady Lavery, by John Lavery. It was completed in 1910. She was the lady who later appeared on the Irish banknotes.
National Gallery of Australia
Image is present on following page(s): Portraits
Mrs Lavery sketching, 1910 -
Drunken Faun
Drunken Faun, 1826 by John Hogan
Crawford Art Gallery, Cork
Image is present on following page(s): Hogan's Early Life and Education, John Hogan, John Hogan
Drunken Faun -
Elizabeth Farrell Monument
Elizabeth Farrell Monument, St Andrew's, Westland Row, Dublin by John Hogan.
Courtesy of Cork City Libraries
Image is present on following page(s): Hogan's return to Ireland and his last days
Elizabeth Farrell Monument -
A Place with Stones (1979) by Patrick Collins (1911-1984)
A Place with Stones (1979) by Patrick Collins (1911-1984) is a romantic image of megalithic stone forms.
AIB Art Collection
Image is present on following page(s): Landscape and the natural world, Landscape and the natural world, Landscape and the natural world
A Place with Stones (1979) by Patrick Collins (1911-1984) -
Ardnaglug Collar
From the third century BC, found at Ardnaglug (Co. Roscommon)
Courtesy of the National Museum of Ireland
Image is present on following page(s): Celtic Art, Celtic Art, Celtic Art
Ardnaglug Collar -
A Morning in a City (1937) by Jack Yeats (1871-1957)
A Morning in a City (1937) by Jack Yeats (1871-1957). Courtesy of the National Gallery of Ireland
© Estate of Jack B Yeats. All rights reserved, DACS 2009
Image is present on following page(s): Landscape and the natural world, Landscape and the natural world, Landscapes, Landscapes, Landscape and the natural world
A Morning in a City (1937) by Jack Yeats (1871-1957) -
Children of Lir (1964) by Oisin Kelly (1915-1981)
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Image is present on following page(s): Mythology, Mythology, Mythology, Painting Scenes from Myths, Mythology
Children of Lir (1964) by Oisin Kelly (1915-1981) -
Knowth, Co. Meath. Orthostat 49
Knowth, Co. Meath. Orthostat 49: This abstracted face guards the entrance to the chamber at Knowth.
Courtesy of the Photographic Unit, Department of the Environment, Heritage and Local Government
Image is present on following page(s): Abstract Art, Abstract Art, Gallery & Questions, Irish Art, Gallery & Questions, Irish Art, Abstract Art
Knowth, Co. Meath. Orthostat 49 -
A Convent Garden (1911) by William John Leech (1881-1968)
A Convent Garden (1911) by William John Leech (1881-1968). Leech shows an awareness of Impressionist techniques in the light and brushwork, as well as the treatment of the subject. Courtesy of the National Gallery of Ireland
Photo (c) National Gallery of Ireland (c) The Artist's Estate
Image is present on following page(s): Irish Artists Abroad, Irish Artists Abroad, William Leech, William Leech, Irish Artists Abroad
A Convent Garden (1911) by William John Leech (1881-1968) -
Banks of the Seine (1860) by Nathaniel Hone (1831-1917)
Banks of the Seine (c.1882) by Nathaniel Hone the Younger (1831-1917) Courtesy of the National Gallery of Ireland
Photo (c) National Gallery of Ireland
Image is present on following page(s): Landscape, Landscape and the natural world, Landscape and the natural world, Gallery & Questions, Gallery & Questions, Landscape and the natural world
Banks of the Seine (1860) by Nathaniel Hone (1831-1917)