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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 Harris. |
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 worked in stained glass. |
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 emerging nation. |
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, Willie Doherty, and Sean Hillen also work in modern media. The Irish Independent Artists exhibited at the David Hendrik's Gallery, Dublin during the 1970s and early 1980s. Joe O'Connor, figurative/dynamic painter of iconic sports heroes was one of its original members. |
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 infrastructure and professionalism in venues. |
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 William Orpen, Jack B Yeats, William Scott, Sean Scully and Hughie O'Donoghue. |
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, Rasher, Peter Richards, Anne Rigney, Victor Sloan, Paul Seawright, Samuel Walsh, Conor Walton. |
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 Paestum, Agrigento and elsewhere. Ancient Rome finally emerged as the dominant Italian and European power. The Roman remains in Italy are of extraordinary richness, from the grand Imperial monuments of Rome itself to the survival of exceptionally preserved ordinary buildings in Pompeii and neighbouring sites. Following the fall of the Roman Empire, in the Middle Ages Italy remained an important centre, not only of the Carolingian art, Ottonian art of the Holy Roman Emperors, Norman art, but for the Byzantine art of Ravenna and other sites. |
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, known as Mannerism. Italy retained its artistic dominance into the 17th century with the Baroque (1600–1750), and into the 18th century with Neoclassicism (1750–1850). In this period, cultural tourism became a major prop to Italian economy. Both Baroque and Neoclassicism originated in Rome and spread to all Western art. Italy maintained a presence in the international art scene from the mid-19th century onwards, with movements such as the Macchiaioli, Futurism, Metaphysical, Novecento Italiano, Spatialism, Arte Povera, and Transavantgarde. |
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 country include Rome, Florence, Venice, Milan, Turin, Genoa, Naples, Palermo, Syracuse and other cities. Italy is home to 58 World Heritage Sites, the largest number of any country in the world. |
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 different colours that ground up and mixed in a medium, and fine brushes were made of animal hair (even the best brushes are produced with ox hair). From the mid 4th century BC chiaroscuro began to be used to portray depth and volume. Sometimes scenes of everyday life are portrayed, but more often traditional mythological scenes. The concept of proportion does not appear in any surviving frescoes and we frequently find portrayals of animals or men with some body-parts out of proportion. One of the best-known Etruscan frescoes is that of Tomb of the Lioness at Tarquinia. |
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 grouped around a central hall in much the same way as Roman town Large houses were later built around an atrium. The influence of Etruscan architecture gradually declined during the republic in the face of influences (particularly Greek) from elsewhere. The Etruscan architecture was itself influenced by the Greeks so that when the Romans adopted Greek styles, it was not a totally alien culture. During the republic, there was probably a steady absorption of architectural influences, mainly from the Hellenistic world, but after the fall of Syracuse in 211 BC, Greek works of art flooded into Rome. During the 2nd century BC, the flow of these works, and more important, Greek craftsmen, continued, thus decisively influencing the development of Roman architecture. By the end of the republic, when Vitruvius wrote his treatise on architecture, Greek architectural theory and example were dominant. With the expansion of the empire, Roman architecture spread over a wide area, used for both public buildings and some larger private ones. In many areas, elements of style were influenced by local tastes, particularly decoration, but the architecture remained recognizably Roman. Styles of vernacular architecture were influenced to varying degrees by Roman architecture, and in many regions, Roman and native elements are found combined in the same building. |
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 waste. The wealthiest Romans lived in large houses with gardens. Most of the population, however, lived in apartment buildings made of stone, concrete, or limestone. The Romans developed new techniques and used materials such as volcanic soil from Pozzuoli, a village near Naples, to make their cement harder and stronger. This concrete allowed them to build large apartment buildings called insulae. |
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 to make rooms in Roman houses seem larger and brighter and showed off the wealth of the owner. |
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 Constantinople), Roman art incorporated Eastern influences to produce the Byzantine style of the late empire. When Rome was sacked in the 5th century, artisans moved to and found work in the Eastern capital. The Church of Hagia Sophia in Constantinople employed nearly 10,000 workmen and artisans, in a final burst of Roman art under Emperor Justinian I, who also ordered the creation of the famous mosaics of Ravenna. |
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, affected by external European and Eastern currents. After c. 1250 the art of the various regions developed characteristics in common, so that a certain unity, as well as great originality, is observable. |
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 relatively small portable painting with a frame to Western Europe. Very often they are on a gold ground. It was the dominant style in Italian painting until the end of the 13th century, when Cimabue and Giotto began to take Italian, or at least Florentine, painting into new territory. But the style continued until the 15th century and beyond in some areas and contexts. |
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 and well-funded in the period, and embarked on large building programmes, mostly using a cheaper and less highly decorated version of Gothic. Large schemes of fresco murals were cheap, and could be used to instruct congregations. The Basilica of Saint Francis of Assisi, in effect two large churches, one above the other on a hilly site, is one of the best examples, begun in 1228 and painted with frescos by Cimabue, Giotto, Simone Martini, Pietro Lorenzetti and possibly Pietro Cavallini, most of the leading painters of the period. |
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 Italy during the century, including Duccio di Buoninsegna, Simone Martini, Lippo Memmi, Ambrogio Lorenzetti and his brother Pietro. Important sculptors included two pupils of Giovanni Pisano: Arnolfo di Cambio and Tino di Camaino, and Bonino da Campione. |
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 architects designed huge cathedrals to emphasize the grandeur of God and to humble the human spirit. Renaissance architects designed buildings whose proportions were based on those of the human body and whose ornamentation imitated ancient designs. |
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 real emotions. He portrayed many of his figures in realistic settings. |
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 work, which is about 5 feet (1.5 meters) tall, was the first large free-standing nude created in Western art since classical antiquity. |
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 and completed about 1465, was one of the first buildings designed in the new Renaissance style. Brunelleschi also was the first Renaissance artist to master linear perspective, a mathematical system with which painters could show space and depth on a flat surface. |
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 and wrote his observations. Leonardo made careful drawings of human skeletons and muscles, trying to learn how the body worked. Due to his inquiring mind, Leonardo has become a symbol of the Renaissance spirit of learning and intellectual curiosity. |
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 qualities also appear in the frescoes of Biblical and classical subjects that Michelangelo painted on the ceiling of the Vatican's Sistine Chapel. The frescoes, painted from 1508 to 1512, rank among the greatest works of Renaissance art. |
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. The painting was influenced by classical Greek and Roman models. It portrays the great philosophers and scientists of ancient Greece in a setting of classical arches. Raphael was thus making a connection between the culture of classical antiquity and the Italian culture of his time. |
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 together they devised a plan to replace the 4th-century Old St. Peter's with a new church of gigantic dimensions. The project was not completed, however, until long after Bramante's death. |
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 Caravaggio and the robust, illusionistic paintings of the Bolognese Carracci family gave rise to the baroque period in Italian art. Domenichino, Francesco Albani, and later Andrea Sacchi were among those who carried out the classical implications in the art of the Carracci. |
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 towering virtuoso of baroque exuberance and grandeur in sculpture and architecture was Gian Lorenzo Bernini. Toward 1640 many of the painters leaned toward the classical style that had been brought to the fore in Rome by the French expatriate Nicolas Poussin. The sculptors Alessandro Algardi and François Duquesnoy also tended toward the classical. Notable late baroque artists include the Genoese Giovanni Battista Gaulli and the Neapolitans Luca Giordano and Francesco Solimena. |
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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