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British and Irish Paintings in Public Collections
This book sets a new standard as a work of reference. It covers British and Irish art in public collections from the beginning of the sixteenth century to the end of the nineteenth, and it encompasses nearly 9,000 painters and 90,000 paintings in more than 1,700 separate collections. The book includes as well pictures that are now lost, some as a consequence of the Second World War and others because of de-accessioning, mostly from 1950 to about 1975 when Victorian art was out of fashion. By listing many tens of thousands of previously unpublished works, including around 13,000 which do not yet have any form of attribution, this book becomes a unique and indispensable work of reference, one that will transform the study of British and Irish painting.
Irish Painting
This is the first full-colour introduction to Irish painting. It brings together a carefully selected, stimulating and stunning display of paintings and details, creating at once an important picture book and a useful history of Irish painting. Dr Brian P. Kennedy's selection and his essays on the sixty-five painters included reflect his contention that Irish talent has been as evident in the visual arts as it has been in the world of literature. Using over one hundred images from private and public collections, his survey results in a comprehensive history revealing the major developments in Irish painting between 1640 and 1953. The extensive bibliography provides in itself a much-needed resource for anyone interested in Irish painting.
Irish Rural Interiors in Art
This book offers a fascinating view of many aspects of Irish rural life from the eighteenth to the mid twentieth century. Illustrated with more than 250 images, many of which have not been published before, the book evokes the hardships and celebrations of laborers and farmers, men and women, the old and the young as depicted in oil paintings, watercolors, drawings, prints, postcards, and cartoons. Most of the illustrations show people engaged in indoor activities at home, but schools, shops, pubs, and doctors' surgeries are also included. Claudia Kinmonth draws on extensive knowledge of the material culture of rural life to present a new social history of Irish country people. Working within a broadly chronological framework, the author addresses such themes and patterns of rural life as the architecture of houses, where people slept, cooking over the open hearth, rural dress, display, childcare, work within the home, the arrangement of marriages, weddings, wakes, and celebrations. The book also explores why Irish and foreign artists depicted rural interiors and sets their work in the context of art history.
Sources in Irish Art
"The publication of these texts in a single volume enables the reader to create useful historical comparisons as well as facilitating the careful examination of historical documents. Sources in Irish Art: A Reader will be an ideal text for Irish Studies and relevant Art History courses both at undergraduate and postgraduate levels."--BOOK JACKET.
Painting Dublin, 1886–1949
Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland such artworks have been overlooked in favour of the rural and pastoral. Framed by the shift from city of empire to capital of an independent republic, this book examines artworks by Walter Osborne, Rose Barton, Jack B. Yeats, Harry Kernoff, Estella Solomons and Flora Mitchell, encompassing a variety of urban views and artistic themes. While Dublin is already renowned for its representation in literature, this book will demonstrate the many attractions it held for Ireland’s artists, offering a vivid visualisation of the city’s streets and inhabitants at a crucial time in its history.
Ireland's Painters, 1600-1940
This richly illustrated survey of the history of Irish painting encompasses the entire span from the middle ages to the mid-twentieth century. The book includes both well-known and virtually unknown artists, Irish artists who worked abroad as well as in Ireland, and major foreign artists who came to Ireland and worked there for extended periods. Among the more than 350 works reproduced in full color are many paintings from notable private collections which have not been exhibited to the public. Drawing on the unique combined experience of leading Irish art authorities Anne Crookshank and The Knight of Glin, the book presents an exciting roll call of important Irish painters, from the talented Garret Morphy of the Restoration period to William Scott and Louis LeBrocquy of our own time. Broad in its scope and perceptive in its scholarship, the book is the most complete and beautifully illustrated history of Irish painters available today.
William John Leech
During this period, his first wife Elizabeth Kerlin was the model in a number of exciting and experimental works such as Convent Garden, Brittany (National Gallery of Ireland). After the First World War, Leech divided his time between London and the South of France, travelling with his companion and later wife May Botterell. In the tradition of the 'Irish Impressionists' he was fascinated by the treatment of light in French painting, though he continued to explore different styles through his career. Leech painted portraits, landscapes and still lifes, including remarkable self-portraits, interiors and luxuriant aloes.
