In Clodagh Emoe’s art practice, sculpture, performance art and philosophy hold equal sway, writes Peter Murray
Jean Pasley tells the story of writer Patrick Lafcadio Hearn, the inspiration behind a touring print exhibition by Irish and Japanese artists
Philip McEvansoneya considers the work of Joseph Stafford Gibson, a major patron of the Crawford Municipal School of Art and significant painter in his own right
This exhibition places Irish artists of different generations alongside international figures in unexpected juxtapositions that enrich how Irish art can be understood, writes Seán Kissane
Margarita Cappock views works from Ann Quinn’s mid-career retrospective at Letterkenny’s Regional Cultural Centre
Due to Camille Souter’s versatility as a painter, her paintings can be difficult to define, writes Garrett Cormican
Artist Eamon Colman reveals the lure of art and landscape from an early age to John P O’Sullivan
Felicity Clear’s work shows its tangential relationship to modernist visions of utopia, writes Francis Halsall
Amanda Doran luxuriates in the painted medium and celebrates the character of those she paints, writes Ingrid Lyons
It becomes increasingly clear that Nano Reid was ahead of her time and milieu, writes Brian Fallon
Themes of the natural world and climate chaos lie at the heart of Caoimhín Gaffney’s exhibition, writes Eamonn Maxwell
‘I suppose my approach to painting is very much a classical one,’ Maeve McCarthy tells Aidan Dunne as she reflects on her personal style
The politics of identity and the fashioning of the self emerge as strong themes in the 2024 graduate shows, writes Niamh NicGhabhann
John O’Sullivan visits artist John Jobson at his home on the Little Sugar Loaf in County Wicklow
Vivienne Roche’s approach is formally beautiful and seemingly straightforward in its address, but opens onto profound and unsettling ideas about time, loss and persistence, writes Sarah Kelleher
Anthony Carey Stannus was skilled in capturing the excitement and energy of vessels at sea, and also adept at depicting buildings, landscapes and genre scenes, writes Peter Murray
Jason Turner’s father kept racing pigeons and, with Jason confined to home through illness, the birds offered a fascinating source of stimulation for him, writes Catherine Marshall
Jean Curran tells Stephanie McBride that in her editing of cinematic work she is stopping the movie, asking the audience to go back to the fundamentals
Stephanie McBride regards the work of an accomplished 19th-century photographer who sensitively recorded portraits of people and place
Róisín Kennedy speaks with this year’s winner of the Ireland–U.S. Council and Irish Arts Review Portraiture Award at the Royal Hibernian Academy, Daniel Nelis
Margarita Cappock visits painter Bernadette Kiely at her home and studio in Thomastown, Co Kilkenny
Dorothy Cross’ new work feels explicitly relevant to the times we are living in, writes Francis Halsall
Riann Coulter traces the path of the sculptor Hilary Heron, whose retrospective exhibition is showing at the Irish Museum of Modern Art
Rachel McIntyre welcomes a new moving image and sound artwork by Deirdre O’Mahony that confronts the politics of farming and agriculture in Ireland
Brian McAvera points to some highlights from Brian Lalor’s forthcoming retrospective at Uillinn: West Cork Arts Centre
Aidan Dunne finds in the paintings of Anita Shelbourne subjects woven into the very fabric of environment
Marie Bourke looks at the career of William Mulready, a painter of genre, landscape and informal portraits, as well as an illustrator, art advisor and art educator
Brian Fallon travels to Roscommon where he enjoys the landscapes of artist Malachy Costello
Dickon Hall considers the work of Northern Irish artist Arthur Armstrong on the centenary of his birth
Philip McEvansoneya traces Dublin-born Stanhope Alexander Forbes’ early years in Ireland
Seamus O’Brien outlines the spring flowers of Irish native trees, detailing their locations in Ireland
Logan Sisley salutes an indomitable and towering figure in Irish art, Sarah Purser
Sonia Shiel turns painting on its head, writes Catherine Marshall, and her exhibition invites reflective pauses, moments to question what you have just seen
Kathryn Milligan finds that the tension between Patrick Leonard’s representational art and its contrast with high Modernism is peppered throughout the critical response to his work
Gráinne Coughlan examines the work of Bere Island artist Mary K Sullivan
John P O’Sullivan meets with John Kindness ahead of his exhibition ‘Odyssey’, at the Royal Hibernian Academy
Aidan Dunne considers the work of four artists, whose paintings are on view in the atmospheric space of Rathfarnham Castle
Julian Campbell remembers the painter William Osborne, in the bicentenary of his birth
David Caron meets stained-glass artist Phyllis Burke, who tells him, ‘a sculptor’s medium is stone, wood or metal, a musician’s is sound, a glassblower’s is glass – but a stained-glass artist’s medium is light, and glass is their tool’
Ahead of Gordon Hogan’s first exhibition in Ireland, Mike Fitzpatrick visits the artist at his home in Tipperary
Martha Severens tells the story of Henrietta de Beaulieu Dering Johnston, who travelled from Dublin to Charles Town, South Carolina, becoming America’s first professional woman artist
If there’s a consistent thematic in my work it’s about how meaning is made, artist Isabel Nolan tells Brian McAvera
Niamh NicGhabhann explores the detail and impetus behind the latest work in the ‘Magdalene Series’ of exhibitions at Rua Red
Sarah Kelleher considers how Aoife Layton’s highly theatrical compositions underscore our uneasy relationship with the natural world
Cristín Leach talks with Cian McLoughlin, whose ongoing interest in the painting of crowds is ‘accidentally topical’
A drawing of the Virgin attributed to Maud Gonne leaves Christian Dupont wondering
Joanna Kidney’s work has an abstract quality and a poetic sensibility, writes Margarita Cappock
Gerry Davis tells Yvonne Davis how an exhibition by a well travelled Japanese artist inspired him to document his own Asian trip
Niamh NicGhabhann finds that central to Emma Roche’s recent painting is a concern for the stress of assembly-line work
The relationship between Francis Bacon’s permanent studio at the Hugh Lane and John Beattie’s cinematic reconstruction of a Piet Mondrian’s studio opens up a narrative between both spaces, writes Josef Uecker
Peter Murray discovers that nature, culture and science intersect in the work of George Bolster
The RHA’s exhibition indicates that the term ‘abstract’ now encompasses a broad church of artistic endeavour, writes Aidan Dunne
Photographer and filmmaker Martin Healy tells Aidan Dunne how there’s something magical in using an analogue camera, ‘an alchemy’
Peter Murray considers an exhibition of work by contemporary artists that celebrates the inspirational Italian, Giovanni Battista Piranesi
Ahead of her exhibition in Dublin, Brian Fallon looks at the work of artist Carol Hodder
Seán Kissane sees an artistic tradition in the work of Sibyl Montague that continues on from the French artist Louise Bourgeois
Solomon Delane made his name in Rome, where ‘milords’ from Britain and Ireland, making the Grand Tour, would acquire works of art and antique, writes Peter Murray
Flora Mitchell was a passionate recorder of vanishing city architecture, writes Hilary Pyle
For young girls, especially, learning how to control their appearance can feel like a survival tactic, photographer Eva O’Leary tells Richard Mosse
The artists can be seen as unintentionally inscribing in their own visual language a chapter in the history of Ireland, writes Vera Ryan
Grateful to have art as a release, Paul Doran’s work is infused with positivity, writes Susan Campbell ahead of his first solo show in Dublin this month
Sorca O’Farrell’s work conveys a rich and atmospheric sense of place, writes James Hanley ahead of her exhibition at the Easter Snow Gallery in Dublin
Chekhov, Vonnegut, Murakami and Swift inspire the work of Natalia Black and prompt her imagination, writes Margarita Cappock
Acclaimed West of Ireland artist Pádraic Reaney has made Irish art and its ‘ancientness’ traditional again, but in a truly radical way, writes Gerald Dawe
While she valued her Irish roots, artist Hilda van Stockum found that she could express herself best in the Dutch genre of still life, writes Hilary Pyle
I often wonder if I am trying to capture and hold on to a memory, to stop this world for a minute, artist and master printmaker James McCreary tells Brian McAvera
Sullivan uses military installations to create challenging site-specific work, writes Glenn Loughran
Matisse is ‘a kind of grandfather of my thinking’, Taffina Flood tells Susan Campbell
The child-like quality in Tadhg Mcsweeney’s work is deliberate, the attempt of an adult to find a way through his experience of living, writes Brian Lynch
John Trotter was a bright star in the Dublin Society’s drawing school in the mid-18th century, but his failure to achieve the success expected of him remains something of a mystery, writes Peter Murray
I learned to trust my instincts and it gave me permission to get things wrong, Sinead McKeever tells Brian McAvera
Joseph Heffernan’s work hones in on a playful innocence without sacrificing any of the pathos, writes Michael Waldron
Gary Coyle’s work is often unfairly regarded as Gothic in both concept and tone, writes Gerry Walker
Ahead of his upcoming exhibition and 80th birthday, Riann Coulter pays tribute to one of Ireland’s most renowned artists, Neil Shawcross
Robert Armstrong talks to Brian McAvera about his varied body of work and his pathway from graphic design to landscape painting
Influenced by his travels, David Dunne’s work has been a deep and profound study on honouring sites of rupture, writes Mike Fitzpatrick
Stephen Brandes always subverts earnestness with the sardonic, mordant and mischievous wit that permeates all of his work, writes Francis Halsall
Of Harry Clarke’s four windows for Dowanhill’s chapel, The Coronation of the Blessed Virgin is arguably the finest in terms of composition and ambition and, fittingly, the window remains in Scotland – the only one to do so, writes David Caron
Rembrandt’s works on paper reveal the innovative artist as an unrivalled storyteller with an incredible eye for detail, writes An Van Camp
Elizabeth Taggart tells Brian McAvera that the seaside village of Donaghadee in which she grew up holds the key to what drives her as a painter
An exploration of the nature of line and time are fundamental to Brian Fay’s practice, writes Margarita Cappock
Working between the north Mayo coast and his Dublin studio, the landscape in Eddie Kennedy’s paintings is invariably a stepping stone to something else rather than an end in itself, writes Aidan Dunne
Employing film, collage and sculpture, Mary-Ruth Walsh considers the ways in which the complex psychological investment in skin is mirrored in the built environment, writes Sarah Kelleher
Susan Connolly’s work can be classified within the broad category of ‘expanded painting’, which rejects the traditional painting format of the easel and frame, writes Riann Coulter
Unlike most Irish artists, colour is the very essence of Daniel O’Neill’s work and his time to re-enter the spotlight is overdue, writes Brian Fallon
Brian Fallon takes a renewed look at the work of Veronica Bolay, whose West of Ireland landscapes are among her strongest work
Catherine Manthorne recounts the life and work of the Irish American landscape artist Eliza Pratt Greatorex
Julian Campbell regards the work of Thomas Alfred Jones, whose watercolours of women deserve renewed attention
Paula Murphy celebrates the work of Imogen Stuart over the course of her six-decade career
Ahead of her touring exhibition commencing at the Highlanes Gallery, Diana Copperwhite talks with Aidan Dunne
Louise Wallace looks at the work of Catherine McWilliams, whose survey exhibition is showing at the FE McWilliam Gallery
Margarita Cappock examines how Ailbhe Ní Bhriain’s work with computer-generated imagery and collage invokes a feeling of dislocation in the viewer
Richard Proffitt tells John P O’Sullivan how a visit to a Peter Blake exhibition as a teenager encouraged him on his career path
Patricia Butler traces the artistic path and output of one of Ireland’s great botanical artists, Susan Sex
Corban Walker tells Brian McAvera of the inherent conundrum in his practice. ‘How do you use a transparent material or a transparent form to articulate volume?’
Mark Ewart finds that the weight of art history and the lineage of landscape painting is never far away in Bridget Flannery’s work
Kiera O’Toole tells Susan Campbell that in her practice she is concerned with how humans experience the world in non-cognitive ways of being
Alastair MacLennan recalls working with artist Declan Byrne, whose mid-career retrospective was recently mounted at Kilfane Glebe House in County Kilkenny
Combining pathos and humour is a central strategy in Peter Young’s stained-glass work, writes Joseph McBrinn
Stephanie McBride discovers that, like Banksy and French music duo Daft Punk, threadstories is using her own masked identity and anonymity as a riff on celebrity status, or an inversion of it
‘I just can’t cut myself off from the real world, what’s happening around me – there is that underlying anxiety,’ sculptor Tom Fitzgerald tells Mike Fitzpatrick
Peter Burns’ draws on his sculptural training while using a palette that encompasses the spectrum, writes Jim Smyth
Isabella Evangelisti visits the studio of sculptor Sallyanne Morgan and finds that there is potential for much larger, more expansive work
Caroline Scally refuses to be categorised and was generally recognised for what she was, a natural-born talent who followed her own track, writes Brian Fallon
Margarita Cappock and Hannah Baker review works from the oeuvre of artist Sarah Cecilia Harrison
Felix M Larkin recalls the work of John Fergus O’Hea, the principal artist of the Weekly Freeman cartoons in the 1880s in Ireland
Marking the centenary of his birth, Brian Fallon considers the work of artist Richard Kingston
John P O’Sullivan visits artist Eddie Mooney at his Dublin home and studio
Catherine Marshall finds beauty, fun and a new political consciousness in Marie Hanlon’s latest work
Donal Maguire reflects on Aches’ award-winning portrait, painted in the artist’s distinctive graffiti style, which references subtractive colour-mixing theory
Paddy Graham is warily self-critical as an artist, a quality that, while not unusual, is by no means universal, writes Aidan Dunne
Catherine Bowe finds that while Marie Holohan’s paintings have a maze-like structure, her work remains free and unforced
Highly acclaimed for his portraiture work, Colin Davidson’s images are particularly evocative when they depict the familiar features of Belfast, writes Riann Coulter
Peter Murray visits the Irish Pavilion at the Venice Biennale, where artist Niamh O’Malley is on show
Michael Connerty traces Jack B Yeats’ output of comics and comic-strip art
Elaine Hoey tells Rachel Thomas that light and colour inhabit a space in a way that is very ethereal, but has a volume, not unlike virtual reality
Brenda Aherne and Helen Delany, AKA electronic Sheep, are making waves in the international arena, as Hilary O’Kelly recounts
Mike Fitzpatrick suggests that Anne Ryan’s new works function as sculpture, yet are figurative paintings in the round
John Hutchinson considers that Aleana Egan’s art is perhaps best read as a set of related parts, which together trace her experience of both outer and inner worlds
Cristín Leach visits Joanna Hopkins’ recent exhibition, which presents as a deeply personal engagement with communal, multigenerational wisdom
Anne Hodge examines a series of drawings of scenes in Dublin and Wicklow, made by the writer and artist Edward Lear in 1835
Philip McEvansoneya follows the trail of a painting of Rembrandt’s wife, Saskia, from the shadow of the Galtee Mountains through Hermann Göring’s art collection, to Saskia’s hometown in the Netherlands
Ahead of her exhibitions in Ireland and Italy, Grace Weir speaks with Rachel Thomas
John P O’Sullivan visits painter Martin Gale at his home and studio in County Kildare
Pascal Ungerer’s peripheral landscapes evoke a sense of silence and isolation , writes Margarita Cappock
Aoife Ruane looks at artist Niamh McGuinne’s work, on show at the Highlanes Gallery
Stephanie McBride finds that Andrew Nuding’s photobook Hunt the Wren mixes tradition and modernity, revitalising ways of belonging in place and history
Shevaun Doherty tells John P O’Sullivan that a trip to Kew Gardens in London with her aunt decided her vocation
Lorna Corrigan’s paintings are simultaneously riotous, explosive and exuberant, writes Catherine Marshall
Joe Butler’s career shows a total dedication to his pursuit of open, direct metal sculpture, writes John Behan
John P O’Sullivan visits renowned horse painter Peter Curling at his home and studio in Tipperary
I’m always looking for an elemental quality,‚’ artist David Smith tells Aidan Dunne
John P O’Sullivan finds that a constant feature in David Eager Maher’s work is his inclusion of art-history references
Olivia Musgrave’s interest in the Classics greatly informs her sculptures, writes Peter Murray
Eileen Black recounts the life and work of Post-Impressionist painter, Georgina Moutray Kyle
Artist Charles Lamb’s paintings conveyed a romantic ideal of the new Ireland, writes Marie Bourke
John P o’Sullivan previews Hughie o’Donoghue’s latest suite of paintings of diverse historic characters spanning 1,500 years of history
Ahead of her show at the Custom House Gallery in Westport, Brian Fallon explores the work of Ann Quinn
Aidan Dunne examines the richly textural grid-based paintings of Denis Farrell, finding work of great temporal depth
Anna Campbell has maintained a remarkable consistency in terms of both technical skill and artistic vision, writes Riann Coulter
Though best known for his landscapes and portraits, Blaise Smith has been painting still lifes for more than two decades and, writes Aidan Dunne, they are among his most personal and speculative works
John Rainey tells Michael Waldron that he designs environments for his work to exist in, thereby reversing the dynamic so that we exist within their world for a period of time
Mike Fitzharris tells Brian McAvera of his attraction to colour captured in the brilliance of an Irish summer or Spain’s Andalucía
Nature is an abiding source for Maighread Tobin and her new series of paintings reflect her engagement with natural sculptural forms, writes Niamh NicGhabhann
Marcel Vidal finds that a thread of instability runs through Freida Breen’s sculptural practice
In a time when ‘visual culture‚’ can mean ‘words‚’, Jonathan Hunter continues to find rich possibilities in an insistently visual painterly language, writes William Gallagher
Cristín Leach looks at Maeve McCarthy’s new paintings as she prepares for her forthcoming exhibition at the Molesworth Gallery
150 years since the birth of Jack B Yeats, Hilary Pyle considers the concept of memory embedded in his work
Mary Stratton Ryan looks at the life of Mary Kate Benson, a tentative figure in the Irish art pantheon, on the centenary of her death
John Noel Smith’s journey continues with an enlivening sense of momentum, writes Margarita Cappock
Barbara Warren’s work, rather than startling or imposing on the eye, invites the spectator to come in, writes Hilary Pyle
The sea’s characteristics, particularly its unpredictability and perpetual rhythm, continuously inspire, Alva Gallagher tells Carissa Farrell
Sculptor Eilis O’Connell uses digital technology to show her work in an experimental and groundbreaking way, writes Jennifer Gof
Hilary Pyle recalls the artist Hilda Roberts, two-time winner of the RDS Taylor Art Award, whose talents were apparent from an early age
‘There’s a huge sensuous pleasure in making a colour’ Fergus Martin tells Brian McAvera as an exhibition of his work opens at IMMA
Peter Murray charts the work of Irish marine artist, Edwin Hayes, whose bicentenary falls this year
Frank McGuinness reflects on the visual clues within Andrew Pike’s triptych portrait of art collector John McBratney
‘Everything that is beautiful has something creepy about it or something unsettling underneath,’ Vera Klute talks to Brian McAvera about her aesthetic
Painter and master printmaker Stephen Lawlor talks to Brian McAvera about the nuance of approach required for each medium, ahead of his solo show at Oliver Sears Gallery this winter
Mic Moroney navigates Stephen Brandes’ satirical visual diary featuring in ‘Phoenix Rising’ at Dublin City Gallery The Hugh Lane
Mike Fitzpatrick reflects on the sombre, otherworldly quality of Michael Canning’s work
Julian Campbell finds that sculptor Peter McTigue’s traditional methods belie a resolutely Modernist vision.
Philip McEvansoneya explores the work of John Currie, an artist not well known in Ireland, even though he visited the country, painted Irish subjects and exhibited in Dublin
Seán Kissane explores the work of Kevin Mooney, in which complex webs of history and cultural references abound
Hilary Pyle looks at the life and work of artist Estella Solomons, whose exhibition is on view at the National Gallery of Ireland
Aidan Dunne talks to painter Martin Mooney about his career and the development of his work
John P O’Sullivan investigates painterly values and pitfalls with Donald Teskey, ahead of his mid-career survey at the RHA