A small number of Irish stone circles exhibit convincing evidence of intentional astronomical alignment at winter or summer solstice, writes Frank Prendergast. Photographs by Ken Williams
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
Roseanne Lynch’s images are an engagement with the act of seeing and the experience of light and space, writes Sarah Kelleher
Matisse is ‘a kind of grandfather of my thinking’, Taffina Flood tells Susan Campbell
Sullivan uses military installations to create challenging site-specific work, writes Glenn Loughran
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
The map patterns in her work, although abstract in appearance, are accurate and can still be read, Michelle Byrne tells Carissa Farrell
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
The new criminal court house in Cork unequivocally affirms the traditional role of court buildings to make an exemplary public statement, writes Judith Hill
Artist Charles Lamb’s paintings conveyed a romantic ideal of the new Ireland, writes Marie Bourke
Peter Harbison argues that the influences of continental frescoes could lead to a later dating of the Book of Kells
Thomas Moore’s works influenced visual artists throughout Europe and beyond, writes Julian Campbell
No other church in Dublin retains such an elaborate or such a complete High Victorian decorative scheme, writes Alistair Rowan
As the National Irish Visual Arts Library (NIVAL) prepares to expand its premises, David Caron explores the stained glass collections in the archive
Eithne Verling selects the O’Tully Cup, on view at Galway City Museum
