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Artists |
Early Irish masters include: Garret Morphey, Robert Carver, George Barrett, Sr., James Barry, Hugh Douglas Hamilton. The Irish impressionists included Roderic O'Conor and Walter Osborne, with other landscape artists: Augustus Nicholas Burke, Susanna Drury, Paul Henry, Nick Miller, Nathaniel Hone the Younger and Pat Har... |
Notable Irish sculptors have included Jerome Connor, John Henry Foley, Augustus Saint-Gaudens (born in Dublin, but emigrated to America at six months old), Mary Redmond, John Behan and Oliver Sheppard. Edward Delaney, Rachel Joynt, and Rowan Gillespie are contemporary sculptors. Harry Clarke, Sarah Purser and Evie Hone... |
Portraitists have included Daniel Maclise, John Lavery, William Orpen (both these War Artists in WWI), John Butler Yeats (father of Jack and William Butler), Henry Jones Thaddeus and Nathaniel Hone the Elder. |
Apart from Francis Bacon, who left Ireland as a young man, the best-known 20th-century Irish artist was Jack Yeats, brother of the poet, also with an individual style that is hard to classify. The art of Seán Keating was poised between Social Realism and Romanticism, and addressed public and political themes in an eme... |
Irish Modernism began with Mainie Jellett, with later participants being The White Stag group, The Exhibition of Living Art, Norah McGuinness, Louis le Brocquy, Patrick Scott, Patrick Swift, and John Kingerlee. Abstract expressionists included Tony O'Malley, Nano Reid and Patrick Collins. |
In Northern Ireland notable artists have included John Luke, Colin Middleton, William Scott, Neil Shawcross, Gladys Maccabe (artist), Basil Blackshaw and Frank McKelvey. |
Contemporary art |
Ireland's best known living artists include Brian O'Doherty an art historian, sculptor, and conceptual artist who is based in New York City, Sean Scully an abstract painter who lives and works in New York City, Dorothy Cross, a sculptor and filmmaker and James Coleman, an installation and video artist. Robert Ballagh,... |
Interest in collecting Irish art has expanded rapidly with the economic expansion of the country, primarily focussing on investment in early twentieth century painters. Support for young Irish artists is still relatively minor compared to their European counterparts, as the Arts Council's focus has been on improving i... |
An exhibition called 'The Art of a Nation: Irish Works from the Allied Irish Bank and Crawford Art Gallery Collection' was held between 13 and 31 May 2015 at the Mall Galleries, The Mall, London. It celebrated the story of Irish art from 1890s to the present day and included important works by Aloysius O'Kelly, Sir Wil... |
Kevin Abosch, Gerard Byrne, Dorothy Cross, James Coleman, Amanda Coogan, Colin Davidson, Joe Dunne, Ross Eccles, Fergus Feehily, Gary Farrelly, Ronan Goti, James Hanley, Gottfried Helnwein, Sean Hillen, Mary Fitzgerald, Vera Klute, Stephen Lawlor, John Long, Paul McCloskey, Mick O'Dea, Nick Miller, Michael Mulcahy, Ras... |
Mural painting |
Northern Ireland has a significant tradition of political mural painting, from both the loyalist and republican standpoints. |
See also |
List of Irish artists |
Art galleries, centres and collections in Ireland |
Celtic art |
Notes |
References |
Henry, Françoise. Irish art in the Romanesque period (1020–1170 A.D.). London: Methuen, 1970. ISBN 978-0-8014-0526-6 |
Henry, Françoise. Irish Art during the Viking Invasions (800–1020 A.D.). London: Methuen & Co, 1967 |
Moss, Rachel. Medieval c. 400 – c. 1600: Art and Architecture of Ireland. London: Yale University Press, 2014. ISBN 978-0-3001-7919-4 |
"NMI": Wallace, Patrick F., O'Floinn, Raghnall eds. Treasures of the National Museum of Ireland: Irish Antiquities, 2002, Gill & Macmillan, Dublin, ISBN 0-7171-2829-6 |
Further reading |
Bruce Arnold (1977). Irish Art: A Concise History. London: Thames & Hudson. ISBN 0-500-20148-X |
Treasures of early Irish art, 1500 B.C. to 1500 A.D.: from the collections of the National Museum of Ireland, Royal Irish Academy, Trinity College, Dublin. New York: The Metropolitan Museum of Art. 1977. ISBN 9780870991646. |
Irish Fine Art in the Early Modern Period: New Perspectives on Artistic Practice, 1620–1820, Eds. Jane Fenlon, Ruth Kenny, Caroline Pegum, Brendan Rooney, 2016, Irish Academic Press |
External links |
The Irish Arts Council |
National Gallery of Ireland |
Centre for the Study of Irish Art Archived 2018-09-05 at the Wayback Machine @ the National Gallery of Ireland |
The National Irish Visual Arts Library |
www.modernart.ie Irish Museum of Modern Art. |
Since ancient times, Greeks, Etruscans and Celts have inhabited the south, centre and north of the Italian peninsula respectively. The very numerous rock drawings in Valcamonica are as old as 8,000 BC, and there are rich remains of Etruscan art from thousands of tombs, as well as rich remains from the Greek colonies at... |
Italy was the main centre of artistic developments throughout the Renaissance (1300–1600), beginning with the Proto-Renaissance of Giotto and reaching a particular peak in the High Renaissance of Antonello da Messina, Leonardo da Vinci, Michelangelo and Raphael, whose works inspired the later phase of the Renaissance, ... |
Italian art has influenced several major movements throughout the centuries and has produced several great artists, including painters, architects and sculptors. Today, Italy has an important place in the international art scene, with several major art galleries, museums and exhibitions; major artistic centres in the c... |
Etruscan art |
Etruscan bronze figures and a terracotta funerary reliefs include examples of a vigorous Central Italian tradition which had waned by the time Rome began building her empire on the peninsula. |
The Etruscan paintings that have survived to modern times are mostly wall frescoes from graves, and mainly from Tarquinia. These are the most important example of pre-Roman figurative art in Italy known to scholars. |
The frescoes consist of painting on top of fresh plaster, so that when the plaster is dried the painting becomes part of the plaster and an integral part of the wall, which helps it survive so well (indeed, almost all of surviving Etruscan and Roman painting is in fresco). Colours were made from stones and minerals in ... |
Roman art |
The Etruscans were responsible for constructing Rome's earliest monumental buildings. Roman temples and houses were closely based on Etruscan models. Elements of Etruscan influence in Roman temples included the podium and the emphasis on the front at the expense of the remaining three sides. Large Etruscan houses were ... |
By the 1st century AD, Rome had become the biggest and most advanced city in the world. The ancient Romans came up with new technologies to improve the city's sanitation systems, roads, and buildings. They developed a system of aqueducts that piped freshwater into the city, and they built sewers that removed the city's... |
Wall paintings decorated the houses of the wealthy. Paintings often showed garden landscapes, events from Greek and Roman mythology, historical scenes, or scenes of everyday life. Romans decorated floors with mosaics — pictures or designs created with small colored tiles. The richly colored paintings and mosaics helped... |
In the Christian era of the late Empire, from 350 to 500 AD, wall painting, mosaic ceiling and floor work, and funerary sculpture thrived, while full-sized sculpture in the round and panel painting died out, most likely for religious reasons. When Constantine moved the capital of the empire to Byzantium (renamed Consta... |
Medieval art |
Throughout the Middle Ages, Italian art consisted primarily of architectural decorations (frescoes and mosaics). Byzantine art in Italy was a highly formal and refined decoration with standardized calligraphy and admirable use of color and gold. Until the 13th century, art in Italy was almost entirely regional, affecte... |
Italo-Byzantine art |
With the fall of its western capital, the Roman Empire continued for another 1000 years under the leadership of Constantinople. Byzantine artisans were used in important projects throughout Italy, and what are called Italo-Byzantine styles of painting can be found up to the 14th century. |
Italo-Byzantine style initially covers religious paintings copying or imitating the standard Byzantine icon types, but painted by artists without a training in Byzantine techniques. These are versions of Byzantine icons, most of the Madonna and Child, but also of other subjects; essentially they introduced the relative... |
Duecento |
Duecento is the Italian term for the culture of the 13th century. The period saw Gothic architecture, which had begun in northern Europe spreading southward to Italy, at least in the north. The Dominican and Franciscan orders of friars, founded by Saint Dominic and Saint Francis of Assisi respectively became popular an... |
Trecento |
Trecento is the Italian term for the culture of the 14th century. The period is considered to be the beginning of the Italian Renaissance or at least the Proto-Renaissance in art history. Painters of the Trecento included Giotto di Bondone, as well as painters of the Sienese School, which became the most important in ... |
Renaissance art |
During the Middle Ages, painters and sculptors tried to give their works a spiritual quality. They wanted viewers to concentrate on the deep religious meaning of their paintings and sculptures. But Renaissance painters and sculptors, like Renaissance writers, wanted to portray people and nature realistically. Medieval ... |
Early Renaissance |
During the early 14th century, the Florentine painter Giotto became the first artist to portray nature realistically since the fall of the Roman Empire. He produced magnificent frescoes (paintings on damp plaster) for churches in Assisi, Florence, Padua, and Rome. Giotto attempted to create lifelike figures showing rea... |
A remarkable group of Florentine architects, painters, and sculptors worked during the early 15th century. They included the painter Masaccio, the sculptor Donatello, and the architect Filippo Brunelleschi. |
Masaccio's finest work was a series of frescoes he painted about 1427 in the Brancacci Chapel of the Church of Santa Maria del Carmine in Florence. The frescoes realistically show Biblical scenes of emotional intensity. In these paintings, Masaccio utilized Brunelleschi's system for achieving linear perspective. |
In his sculptures, Donatello tried to portray the dignity of the human body in realistic and often dramatic detail. His masterpieces include three statues of the Biblical hero David. In a version finished in the 1430s, Donatello portrayed David as a graceful, nude youth, moments after he slew the giant Goliath. The wor... |
Brunelleschi was the first Renaissance architect to revive the ancient Roman style of architecture. He used arches, columns, and other elements of classical architecture in his designs. One of his best-known buildings is the beautifully and harmoniously proportioned Pazzi Chapel in Florence. The chapel, begun in 1442 a... |
High Renaissance |
Arts of the late 15th century and early 16th century were dominated by three men. They were Leonardo da Vinci, Michelangelo, and Raphael. |
Leonardo da Vinci painted two of the most famous works of Renaissance art, the wallpainting The Last Supper and the portrait Mona Lisa. Leonardo had one of the most searching minds in all history. He wanted to know how everything that he saw in nature worked. In over 4,000 pages of notebooks, he drew detailed diagrams ... |
Michelangelo excelled as a painter, architect, and poet. In addition, he has been called the greatest sculptor in history. Michelangelo was a master of portraying the human figure. For example, his famous statue of the Israelite leader Moses (1516) gives an overwhelming impression of physical and spiritual power. These... |
Raphael's paintings are softer in outline and more poetic than those of Michelangelo. Raphael was skilled in creating perspective and in the delicate use of color. He painted a number of pictures of the Madonna (Virgin Mary) and many outstanding portraits. One of his greatest works is the fresco The School of Athens. T... |
The creator of High Renaissance architecture was Donato Bramante, who came to Rome in 1499, when he was 55. His first Roman masterpiece, the Tempietto (1502) at San Pietro in Montorio, is a centralized dome structure that recalls Classical temple architecture. Pope Julius II chose Bramante to be papal architect, and to... |
Mannerism |
Mannerism was an elegant, courtly style. It flourished in Florence, Italy, where its leading representatives were Giorgio Vasari and Bronzino. The style was introduced to the French court by Rosso Fiorentino and by Francesco Primaticcio. The Venetian painter Tintoretto was influenced by the style. |
The mannerist approach to painting also influenced other art forms. In architecture, the work of Giulio Romano is a notable example. The Italian Benvenuto Cellini and Flemish-born Giambologna were the style's chief representatives in sculpture. |
Some historians regard this period as degeneration of High Renaissance classicism or even as an interlude between High Renaissance and baroque, in which case the dates are usually from c. 1520 to 1600, and it is considered a positive style complete in itself. |
Baroque and Rococo art |
In the early 17th century Rome became the center of a renewal of Italian dominance in the arts. In Parma, Antonio da Correggio decorated church vaults with lively figures floating softly on clouds – a scheme that was to have a profound influence on baroque ceiling paintings. The stormy chiaroscuro paintings of Caravagg... |
On the other hand, Guido Reni, Guercino, Orazio Gentileschi, Giovanni Lanfranco, and later Pietro da Cortona and Andrea Pozzo, while thoroughly trained in a classical-allegorical mode, were at first inclined to paint dynamic compositions full of gesticulating figures in a manner closer to that of Caravaggio. The toweri... |
The leading lights of the 18th century came from Venice. Among them were the brilliant exponent of the rococo style, Giovanni Battista Tiepolo; the architectural painters Francesco Guardi, Canaletto, Giovanni Battista Piazzetta, and Bernardo Bellotto; and the engraver of Roman antiquities, Giovanni Battista Piranesi. |
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