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MAKE YOUR OWN GALLERY Did you know that the Hugh Lane Gallery is over 100 years old? The beautiful building in which it is located is even older. Read on to find out more! CHARLEMONT HOUSE: Charlemont House was built in 1765 by James Caulfield (4th Viscount Charlemont). Two famous architects William Chambers and James Gandon designed the house. James wanted to build a townhouse that was a centre piece for Rutland Square, as it was known then, now it is called Parnell Square. Outside was a special area for horse drawn carriages to come off the road so that visitors could disembark right in front of the main entrance. MAKE YOUR OWN HUGH LANE GALLERY: Use the printable templates over the page to make your own Hugh Lane Gallery at home. Glue on all the beautiful classical features of the building and then attach some wings to make the forecourt. The Hugh Lane Gallery is a gallery of modern art. Do you have a favourite artist? Why not fill the box with your own wonderful artwork and paint the walls with lovely colours for your exhibition. box templates pieces of card FRONT ENTRANCE: 2. TOP FLOOR WINDOWS: GROUND FLOOR WINDOWS: 3. ALCOVES: 4. FIRST FLOOR WINDOWS: 5. Make Your Own Gallery by artist Bex Shelford as part of our Kids Club @ Home series. For more art ideas please see www.hughlane.ie/education, Hugh Lane Gallery, Charlemont House, Parnell Square North, Dublin 1..

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(Public Pack)Agenda Document for Monthly Council Meeting, 08/01
To the Lord Mayor and Report No. 01/2018 Members of Dublin City Council FÓGRA FREASTAIL DO CHRUINNIÚ MÍOSÚIL NA COMHAIRLE I SEOMRA NA COMHAIRLE, HALLA NA CATHRACH, CNOC CHORCAÍ, DÉ LUAIN, AR 8 EANÁIR 2018 AG 6.15 I.N. NOTIFICATION TO ATTEND MONTHLY COUNCIL MEETING TO BE HELD IN THE COUNCIL CHAMBER, CITY HALL, DAME STREET, DUBLIN 2., ON MONDAY 8 JANUARY 2018 AT 6.15 PM Do Gach Ball den Chomhairle. A Chara, Iarrtar ort a bheith I láthair ag an Cruinniú Míosúil de Chomhairle Cathrach Bhaile Átha Cliath a thionólfar i Seomra na Comhairle, Halla na Cathrach, Cnoc Chorcaí, ar 8 Eanáir 2018 ag 6.15 i.n. chun an ghnó seo leanas a phlé agus gach is gá i dtaca leis a dhéanamh, nó a chur a dhéanamh, nó a ordú a dhéanamh:- Silent Prayer/Reflection PAGE PART I - INTRODUCTORY 1 Lord Mayor's Business 2 Ceisteanna fé Bhuan Ordú Úimhir 16 5 - 16 3 LETTERS (a) Letter dated 14th December 2017 from Clare County Council - Calling on the 17 - 18 Minister for Agriculture to put a plan in place to help Clare farmers through an imminent fodder crisis next year (b) Letter dated 12th December 2017 from Galway City Council - Calling on the 19 - 20 Department of the Environment re request for the preparation of legislation for the disposal of paint under the Producer Responsibility Initiative PART II - GOVERNANCE ISSUES 4 To confirm the minutes of the Monthly Council Meeting 4th December and the 21 - 88 13th December 2017 5 Report No. 6/2018 of the Head of Finance (K.
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Curated by Michael Dempsey Sara Reisman Introduction
Curated by Michael Dempsey Sara Reisman Introduction SELECT AN ARTIST t Lieven De Boeck Elaine Byrne John Byrne Tony Cokes Chto Delat Dor Guez Lawrence Abu Hamdan Dragana Juriši´c Ari Marcopoulos Raqs Media Collective Dermot Seymour Mark Wallinger “In the year 2000 there was a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents.” — Lawrence Abu Hamdan, 2018 Introduction Historically, borders tend to be the location of international trouble spots. Prior to the global lockdown, there was a utopian vision of open borders, alongside the reality of a populist push towards border fortification. This dichotomy has now been eclipsed by a pandemic that doesn’t respect borders. Politicisation of the pandemic, displacement of people, and contagion, as well as the drive towards an ever-increasing economic globalisation, have created further complex contradictions. The curatorial idea for the exhibition Worlds Without End (WWE) was first conceived a year ago as a research-based collaboration between Sara Reisman, Executive and Artistic Director of the Shelley & Donald Rubin Foundation, New York and Michael Dempsey, Head of Exhibitions, Hugh Lane Gallery, who are the co-curators of WWE. WWE is a visual dialogue on the impact of borders on individuals and communities. The twelve participating artists are drawn from different regional traditions and challenge our perceptions of national identities, envisioning utopian possibilities for understanding the place of borders, their proliferation and seeming obsolescence, in contemporary society. These artists reveal their deep interest in current geo-political positions and social conditions with works that interrogate power structures, positions of privilege and human rights issues.
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Homage to Fra Angelico (1928) Oil on Canvas, 183 X 152.5Cms (72 X 60’’)
38 31 Mainie Jellett (1897-1944) Homage to Fra Angelico (1928) Oil on canvas, 183 x 152.5cms (72 x 60’’) Provenance: From the Collection of Dr. Eileen MacCarvill, Fitzwilliam Square, Dublin Exhibited: Mainie Jellett Exhibition, Dublin Painters Gallery 1928 Irish Exhibition of Living Art, 1944, Cat. No. 91 An Tostal-Irish Painting 1903-1953, The Hugh Lane Municipal Gallery, Dublin 1953 Mainie Jellett Retrospective 1962, Hugh Lane Gallery Cat. No. 38 Irish Art 1900-1950, Cork ROSC 1975, The Crawford Gallery, Cork, 1975, Cat. No. 65 The Irish Renaissance, Pyms Gallery, London, 1986, Cat. No. 39 Mainie Jellett Retrospective 1991/92, Irish Museum of Modern Art Cat. No. 89 The National Gallery of Ireland, New Millennium Wing, Opening Exhibition of 20th Century Irish Paintings, January 2002-December 2003 The Collectors’ Eye, The Model Arts & Niland Gallery, Sligo, January-February 2004, Cat. No. 12; The Hunt Museum, Limerick, March-April 2004 A Celebration of Irish Art & Modernism, The Ava Gallery, Clandeboye, June- September 2011, Cat. No 21 Analysing Cubism Exhibition Irish Museum of Modern Art Feb/May 2013, The Crawford Gallery Cork June / August 2014 and The FE Mc William Museum September/November 2013 Irish Women Artists 1870 - 1970 Summer loan exhibition Adams Dublin July 2014 and The Ava Gallery , Clandeboye Estate August/September Cat. No. 70. Literature: The Irish Statesman, 16th June 1928 Stella Frost, A Tribute to Evie Hone & Mainie Jellett, Dublin 1957, pp19-20 Kenneth McConkey, A Free Spirit-Irish Art 1860-1960, 1990, fig 58 p75 Dr. S.B. Kennedy, Irish Art & Modernism, 1991, p37 Bruce Arnold, Mainie Jellett and the Modern Movement in Ireland, 1991, full page illustration p120 Mainie Jellett, IMMA Cat, No.
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Hugh Lane Gallery Update Report
Report to Arts, Culture, Leisure and Recreation SPC 29th June 2020 Item No. 8 HUGH LANE GALLERY Online Programmes and Social Media Engagement In response to the Covid 19 Pandemic and the restrictions that have been put in place, the Hugh Lane Gallery has created a series of new and highly dynamic online programmes which are updated weekly. The response has been excellent with our line audience growing exponentially. Our Twitter engagements reached 282k by the end of May. We aim to reach 10,000 followers on Instagram by mid-July and our Facebook followers are growing steadily. Our first online Sunday@Noon concert took place on the 31st March with over 3,000 people + listening through Facebook. All of the gallery’s programmes can be accessed through our website and on Hugh Lane Gallery YouTube channel and Hugh Lane Gallery Soundcloud. Our programmes are a mixture of talks, mini podcasts, sketching and drawing classes, Artists Takeover, Curators Choice, # museumfromhome and # Flashback Fridays (see www.hughlane.ie). The Gallery Newsletter goes out weekly via email and I hope every Councillor is receiving it. We currently have a subscription of over 3,600.and we have approximately 1200 active readers. According the Constant Contact’s statistics page, the 30% open rate is 18% higher than the Industry Average which is normally 12%. INSTAGRAM FOLLOWER GROWTH 10000 9000 8000 7000 6000 5000 4000 3000 2000 1000 0 JANUARY FEBRUARY MARCH APRIL MAY Currently at 9264, we project to hit 10,000 followers by mid-July FACEBOOK REACH 50000 45000 40000 35000 30000 25000 20000 15000 10000 5000 0 JANUARY FEBRUARY MARCH APRIL Facebook Reach Facebook Reach is the number of unique people viewing our content through following, sharing or liking our content.
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Dorothy Cross Dorothy Cross B
Kerlin Gallery Dorothy Cross Dorothy Cross b. 1956, Cork, Ireland Like many of Dorothy Cross’ sculptures, Family (2005) and Right Ball and Left Ball (2007) sees the artist work with found objects, transforming them with characteristic wit and sophistication. Right Ball and Left Ball (2007) presents a pair of deflated footballs, no longer of use, their past buoyancy now anchored in bronze. Emerging from each is a cast of the artist’s hands, index finger extended upwards in a pointed gesture suggesting optimism or aspiration. In Family (2005) we see the artist’s undeniable craft and humour come together. Three spider crabs were found, dead for some time but still together. The intricacies of their form and the oddness of their sideways maneuvres forever cast in bronze. The ‘father’ adorned with an improbable appendage also pointing upwards and away. --- Working in sculpture, film and photography, Dorothy Cross examines the relationship between living beings and the natural world. Living in Connemara, a rural area on Ireland’s west coast, the artist sees the body and nature as sites of constant change, creation and destruction, new and old. This flux emerges as strange and unexpected encounters. Many of Cross’ works incorporate items found on the shore, including animals that die of natural causes. During the 1990s, the artist produced a series of works using cow udders, which drew on the animals' rich store of symbolic associations across cultures to investigate the construction of sexuality Dorothy Cross Right Ball and Left Ball 2007 cast bronze, unique 34 x 20 x 19 cm / 13.4 x 7.9 x 7.5 in 37 x 19 x 17 cm / 14.6 x 7.5 x 6.7 in DC20407A Dorothy Cross Family 2005 cast bronze edition of 2/4 dimensions variable element 1: 38 x 19 x 20 cm / 15 x 7.5 x 7.9 in element 2: 25 x 24 x 13 cm / 9.8 x 9.4 x 5.1 in element 3: 16 x 15 x 13 cm / 6.3 x 5.9 x 5.1 in DC17405-2/4 Dorothy Cross b.
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O'brien Cahirmoyle LIST 64
Leabharlann Naisiúnta na hÉireann National Library of Ireland Collection List No. 64 PAPERS OF THE FAMILY OF O’BRIEN OF CAHIRMOYLE, CO. LIMERICK (MSS 34,271-34,277; 34,295-34,299; 36,694-36,906) (Accession No. 5614) Papers of the descendents of William Smith O’Brien, including papers of the painter Dermod O’Brien and his wife Mabel Compiled by Peter Kenny, 2002-2003 Contents Introduction 7 The family 7 The papers 7 Bibliography 8 I. Land tenure 9 I.1. Altamira, Co. Cork 9 I.2 Ballybeggane 9 I.3. Bawnmore 9 I.4. Cahirmoyle 9 I.5. Clanwilliam (Barony) 11 I.6. Clorane 11 I.7. The Commons, Connello Upper 11 I.8. Connello (Barony) 11 I.9. Coolaleen 11 I.10. Cork City, Co. Cork 11 I.11. Dromloghan 12 I.12. Garrynderk 12 I.13. Glanduff 12 I.14. Graigue 12 I.15. Killagholehane 13 I.16. Kilcoonra 12 I.17. Killonahan 13 I.18. Killoughteen 13 I.19. Kilmurry (Archer) 14 I.20. Kilscannell 15 I.21. Knockroedermot 16 I.22. Ligadoon 16 I.23. Liscarroll, Co. Cork 18 I.24. Liskillen 18 I.25. Loghill 18 I.26. Mount Plummer 19 I.27. Moyge Upper, Co. Cork 19 I.28. Rathgonan 20 2 I.29. Rathnaseer 21 I.30. Rathreagh 22 I.31. Reens 22 I.32 Correspondence etc. relating to property, finance and legal matters 23 II. Family Correspondence 25 II.1. Edward William O’Brien to his sister, Charlotte Grace O’Brien 25 II.2. Edward William O’Brien to his sister, Lucy Josephine Gwynn (d.
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LIT 277 Flyer
LIT 277 IrishLiterature APRIL 12, 2019 - APRIL 20, 2019 Ireland is a nation known for its striking beauty, its political tur- COURSE DESCRIPTION: LIT 277 INTRODUCTION moil, and its long and illustrious literary history. We invite you to TO IRISH LITERATURE join SUNY Broome Professors Mary Donnelly and Andrew Hag- 3 credits gerty for LIT 277: Irish Literature, followed by an eight-day trip A survey of Irish literature in several genres—novels short stories, poetry, to the Emerald Isle! drama, essays, and criticism—from The course itself will be a survey of Irish literature from the Bronze Age (the Táin Bó the pre-Christian era to the present. Cúailnge, or The Cattle Raid at Cooley) to the modern era (the Troubles). Authors Students will read and critically ana- covered will include William Butler Yeats, James Joyce, Edna O’Brien and Brian Friel. lyze the work of major figures, such as Maria Edgeworth, W.B. Yeats, Over Spring Break, we will be leaving for a trip to explore Ireland through the liter- James Joyce, and Seamus Heaney, ary lens. We will be visiting Dublin, Galway, and Sligo to see the locations that and of figures who are less well- inspired the imaginations of our authors. A local travel agency is designing known. Close attention will be paid an exclusive travel package just for the class. to the ways in which Irish literary ELIGIBILITY REQUIREMENT works respond to the pressures of Like all Literature classes, this is a Writing Emphasis course Irish history and culture. A research section. Students must complete paper is required.
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Self-Portraiture and Allegory in the Paintings of Seán Keating, 1915–50
Self-Portraiture and Allegory in the Paintings of Seán Keating, 1915–50 by Brandi Shantelle Goddard A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History of Art, Design and Visual Culture Department of Art and Design University of Alberta © Brandi Shantelle Goddard, 2016 Abstract In 1915, Ireland was on the brink of the revolutionary Easter Rising. By 1949, the nation was officially declared a republic, no longer part of the British Commonwealth. These years flank the creation of five paintings by the Irish artist Seán Keating in which the painter has included his own portrait within the various scenes. These paintings, as alle- gorical self-portraits, allow for a diachronic construction of an artistic identity based on the visual figure’s position vis-a-vis the dominant ideology of the period. Keating’s self-portraits transition from violent nationalist in Men of the West through a period of revolutionary disavowal and a flirtation with socialism in An Allegory and Night’s Candles are Burnt Out respectively. Finally, Ulysses in Connemara and Economic Pressure, or a Bold Peasant Be- ing Destroyed exhibit the artist in the role of an emigrant forced to leave Ireland due to lack of economic and social opportunities. Utilizing Louis Althusser’s theory of art and ideology from A Letter on Art in Reply to André Daspre, this thesis argues that Keating’s inclusion of his likeness within these five paintings may be understood as a visual com- mentary on the shifting and tumultuous ideological state of affairs in Ireland during the first half of the twentieth century.
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Culture & Heritage
Culture & Heritage Oct – Dec 2009 Events, News & Features Culture During the months of October through December the Irish cultural calendar is absolutely jam-packed. For starters, the must-see Francis Bacon Centenary celebration at the Hugh Lane Gallery is getting underway shortly, as is the new Opera Ireland season at the Gaiety Theatre. And what better way to combat the longer, darker winter evenings than with a spot of theatre! And of course few things can rival being able to catch some quality traditional music, as you sit by a roaring fire as the night time chill closes in. So be sure not to miss the Ennis Trad Festival this November! There is no shortage of festivals, exhibitions and cultural events to see you safely through to the New Year. Please keep reading for a taste of what’s on offer in the coming months. Heritage Beloved by both children and adults across the globe, the feast of Hallowe’en – Samhain - will shortly be upon us. The historic county of Meath can lay claim to being the original site of this spiritual celebration and is holding a range of events in the run up to the 31 st October. And thrill seekers should head to Ballyhoura in County Limerick this Hallow’en for a different type of hair-raising experience! Visitors will be delighted to note several new and improved attractions opening in their doors over the approaching months such as the very exciting new and interactive Wax Museum Plus not to mention the newly developed Viking experience at Dublinia.
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Charles Harper
Charles Harper Born 1943 Valencia Island, Co Kerry, Ireland. 1982 Elected to Aosdana 1997 Elected Associate Member of the Royal Hibernian Academy 2003 Elected Full Member of the Royal Hibernian Academy Studied 1958-9 Studied Film Making at Fisherkoesen Film Studios, Bonn, Germany 1961-7 National College of Art, Dublin, Limerick School of Art, 1965-6 Awarded Study/Scholarship at the Dublin Graphic Studio. 1967-8 Studied Principles of Teaching, NCAD, Dublin. Selected Solo Exhibitions 1966 Thomond Gallery, Limerick 1967 Molesworth Gallery, Dublin 1968 Brown Thomas Gallery, Dublin 1970 Gerald Davis Gallery, Dublin 1971 Gerald Davis Gallery, Dublin 1974 Emmet Gallery, Dublin: United Arts Club, Dublin: Grafikuset Futura AC, Stockholm, Sweden 1975 The Tom Caldwell Gallery, Dublin 1976 The Kevin Gallery, Limerick: Tom Caldwell Gallery, Belfast 1978 The Funge Arts Centre, Gorey, Co Wexford: The Tom Caldwell Gallery Dublin: The Stone Art Gallery, Co. Galway 1979 The Tom Caldwell Gallery, Dublin: The Triskel Arts Centre, Cork 1980 Allied Irish Banks, Limerick: Butler Gallery, Kilkenny: The Kenny Gallery, Galway 1981 The Tara Gallery, Zurich, Switzerland: The Tom Caldwell Gallery, Dublin 1982 The Triskel Arts Centre, Cork 1983 Belltable Arts Centre, Limerick: The Tom Caldwell Gallery, Dublin 1986 The Grafton Gallery, Dublin 1987 Foynes Library Gallery, Co. Limerick: Newcastlewest Library, Co Limerick: United Arts Club, Dublin: Bank of Ireland, (Citizens II), Dublin: Carroll Gallery, Longford 1988 The Doolan Moore Gallery, Athlone: Garter Lane Arts Centre, Waterford 1989 United Arts Club, Dublin 1990 Carroll Gallery, Longford: Riverrun Gallery, Four Views, Limerick Riverrun Gallery, Four Views, Dublin: Carroll Gallery, Longford: Claremorris Residency Exhibition, Co Mayo 1992 Vanguard Gallery, Macroom Co Cork: Carroll Gallery, Longford 1993 Rigas Gallery Riga, Latvia: Hallward Gallery, Dublin: United Arts Club, Dublin 1995 Hallward Gallery, Dublin 1996 The Vanguard Gallery, Macroom, Co Cork: Dolmon Gallery, Limerick.
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Lectures Series 2021 in Collaboration
Online Hugh Lane UCD Lectures Series 2021 Exploring the Collection of the Hugh Lane Gallery The Hugh Lane Gallery has the foremost collection of modern and contemporary art in Ireland and is believed to be among the first galleries of modern art in the world. These illustrated online lectures delivered by art historians offer opportunities for exploring insightful perspectives on the Gallery’s prodigious collection including superb examples of Irish and international art. Course co-ordinated by Jessica O’Donnell, art historian and Head of Education and Community Outreach, Hugh Lane Gallery Thursday 28 January 2021 2pm Welcome, Jessica O’Donnell, Head of Education and Community Outreach, Hugh Lane Gallery Exhibition in Focus: Worlds Without End: Stories Around Borders Lecturer: Victoria Evans, Exhibitions Curator, Hugh Lane Gallery Thursday 4 February 2021 2pm Pre-Raphaelite paintings and 19th century English artists in the Hugh Lane Gallery collection Lecturer: Yseult O’Driscoll, art historian Thursday 11 February 2021 2pm Depictions of Irish life - social, artistic and political - in the Hugh Lane Gallery’s collection Lecturer: Dr Anne Cormican, art historian Thursday 18 February 2021 2pm Women Artists in the Hugh Lane Gallery’s Collection (Part 1 - up to 1950) Lecturer: Yseult O’Driscoll, art historian Thursday 25 February 2021 2pm Women Artists in the Hugh Lane Gallery’s Collection (Part 2 - post 1950 to contemporary art) Lecturer: Dr Anne Cormican, art historian Thursday 4 March 2021 2pm Sculpture in the Hugh Lane Gallery’s collection
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Theatre 471-002: Irish Theatre and Culture Rick Jones Griffith 303, Daily, 9-12 (Time Shared with THR 471.1) Summer I, 2016
Theatre 471-002: Irish Theatre and Culture Rick Jones Griffith 303, Daily, 9-12 (time shared with THR 471.1) Summer I, 2016 Course overview: This course emphasizes the relationship between Irish theatre and the culture: that is, between theatre and other arts, between theatre and histori-political events, etc. The course will be taught in conjunction with THR 471.1: Irish Theatre and Drama. Since all students enrolled for one course must also enroll for the other, there may be some trade- offs of time between the two courses. This half of the sequence is primarily experiential, i.e. centered primarily on the fact of being in Ireland. While there is a clear academic intent to the course, the emphasis is on the act of engaging with Irish culture rather than on the articulation of that engagement. Prerequisites: Sophomore standing or above; ENG 132 and THR 162 with grades of C or better, or permission of instructor. Concurrent registration in THR 471.1. Course fees as determined by the Office of International Studies and Programs. Contacting me: Office: 217 Fine Arts, ext. 1290 (department office is room 212, ext. 4003). I will be available immediately following class every day, and by appointment. In Ireland, of course, other arrangements can/will be made. My cell phone # will be distributed in class (emergencies only while abroad, please). E-mail: My SFA e-mail address is [email protected]. This is my preferred means of contact (while in the US). I check e-mail at least three times a day. I do receive literally dozens of e-mail messages each day: please include the prefix “471” (e.g., “471: problems with paper”) in the subject line of all messages so I’ll recognize you immediately as a student in this class.
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