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Early Medieval Europe
Early Medieval Europe 1 Early Medieval Sites in Europe 2 Figure 16-2 Pair of Merovingian looped fibulae, from Jouy-le-Comte, France, mid-sixth century. Silver gilt worked in filigree, with inlays of garnets and other stones, 4” high. Musée d’Archéologie nationale, Saint-Germain-en-Laye. 3 Heraldic Motifs Figure 16-3 Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and cloisonné garnets, 7 1/2” long. British Museum, London. 4 5 Figure 16-4 Animal-head post, from the Viking ship burial, Oseberg, Norway, ca. 825. Wood, head 5” high. University Museum of National Antiquities, Oslo. 6 Figure 16-5 Wooden portal of the stave church at Urnes, Norway, ca. 1050–1070. 7 Figure 16-6 Man (symbol of Saint Matthew), folio 21 verso of the Book of Durrow, possibly from Iona, Scotland, ca. 660–680. Ink and tempera on parchment, 9 5/8” X 6 1/8”. Trinity College Library, Dublin. 8 Figure 16-1 Cross-inscribed carpet page, folio 26 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London. 9 Figure 16-7 Saint Matthew, folio 25 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London. 10 Figure 16-8 Chi-rho-iota (XPI) page, folio 34 recto of the Book of Kells, probably from Iona, Scotland, late eighth or early ninth century. Tempera on vellum, 1’ 1” X 9 1/2”. -
S.Macw / CV / NCAD
Susan MacWilliam Curriculum Vitae 1 / 8 http://www.susanmacwilliam.com/ Solo Exhibitions 2012 Out of this Worlds, Noxious Sector Projects, Seattle F-L-A-M-M-A-R-I-O-N, Open Space, Victoria, BC 2010 F-L-A-M-M-A-R-I-O-N, aceart inc, Winnipeg Supersense, Higher Bridges Gallery, Enniskillen Susan MacWilliam, Conner Contemporary, Washington DC F-L-A-M-M-A-R-I-O-N, Golden Thread Gallery, Belfast F-L-A-M-M-A-R-I-O-N, NCAD Gallery, Dublin 2009 Remote Viewing, 53rd Venice Biennale 2009, Solo exhibition representing Northern Ireland 13 Roland Gardens, Golden Thread Gallery Project Space, Belfast 2008 Eileen, Gimpel Fils, London Double Vision, Jack the Pelican Presents, New York 13 Roland Gardens, Video Screening, The Parapsychology Foundation Perspectives Lecture Series, Baruch College, City University, New York 2006 Dermo Optics, Likovni Salon, Celje, Slovenia 2006 Susan MacWilliam, Ard Bia Café, Galway 2004 Headbox, Temple Bar Gallery, Dublin 2003 On The Eye, Golden Thread Gallery, Belfast 2002 On The Eye, Butler Gallery, Kilkenny 2001 Susan MacWilliam, Gallery 1, Cornerhouse, Manchester 2000 The Persistence of Vision, Limerick City Gallery of Art, Limerick 1999 Experiment M, Context Gallery, Derry Faint, Old Museum Arts Centre, Belfast 1997 Curtains, Project Arts Centre, Dublin 1995 Liptych II, Crescent Arts Centre, Belfast 1994 Liptych, Harmony Hill Arts Centre, Lisburn List, Street Level Gallery, Irish News Building, Belfast Solo Screenings 2012 Some Ghosts, Dr William G Roll (1926-2012) Memorial, Rhine Research Center, Durham, NC. 2010 F-L-A-M-M-A-R-I-O-N, Sarah Meltzer Gallery, New York. -
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 I The West of Ireland National Gallery of Ireland / Gailearaí Náisiúnta na hÉireann West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 Marie Bourke With contributions by Donal Maguire And Sarah Edmondson II Contents 5 Foreword, Sean Rainbird, Director, National Gallery of Ireland 23 The West as a Significant Place for Irish Artists Contributions by Donal Maguire (DM), Administrator, Centre for the Study of Irish Art 6 Depicting the West of Ireland in the Nineteenth and Twentieth Centuries, Dr Marie Bourke, Keeper, Head of Education 24 James Arthur O’Connor (1792–1841), The Mill, Ballinrobe, c.1818 25 George Petrie (1790–1866), Pilgrims at Saint Brigid’s Well, Liscannor, Co. Clare, c.1829–30 6 Introduction: The Lure of the West 26 Frederic William Burton (1816–1900), In Joyce Country (Connemara, Co. Galway), c.1840 6 George Petrie (1790–1866), Dún Aonghasa, Inishmore, Aran Islands, c.1827 27 Frederic William Burton (1816–1900), The Aran Fisherman’s Drowned Child, 1841 8 Timeline: Key Dates in Irish History and Culture, 1800–1999 28 Augustus Burke (c.1838–1891), A Connemara Girl 10 Curiosity about Ireland: Guide books, Travel Memoirs 29 Bartholomew Colles Watkins (1833–1891), A View of the Killaries, from Leenane 10 James Arthur O’Connor (1792–1841), A View of Lough Mask 30 Aloysius O’Kelly (1853–1936), Mass in a Connemara Cabin, c.1883 11 Frederic William Burton (1816–1900), Paddy Conneely (d.1850), a Galway Piper 31 Walter Frederick Osborne (1859–1903), A Galway Cottage, c.1893 32 Jack B. -
WILLIAM SCOTT (B.1913 Greenock, Scotland)
WILLIAM SCOTT (b.1913 Greenock, Scotland) EDUCATION Belfast College of Art Royal Academy Schools (1935) SELECT SOLO EXHIBITIONS 2019 Paintings and Drawings: Fifties Through Eighties, Anita Rogers Gallery, New York, NY 2016 Verey Gallery, Eton College, Form – Colour – Space, Windsor, UK 2016 Fermanagh County Museum, William Scott: The Early Years, Enniskillen, Northern Ireland 2015 Fermanagh District Council Town Hall, William Scott Paintings at Enniskillen’s Town Hall, Enniskillen, Northern Ireland 2014 Pallant House gallery, Three pears and a Pan, 1955, Chichester, UK 2013 The Gordon Gallery, the Altnagelvin Mural, Derry, Northern Ireland 2013 The Ulster Museum, William Scott: Centenary Exhibition, Belfast, Northern Ireland 2013 The Hepworth Wakefield, William Scott, Wakefield, UK 2013 McCaffrey Fine Art, William Scott: Domestic Forms, New York, NY 2013 Victoria Art Gallery, William Scott: Simplicity and Subject, Bath, UK 2013 Denenberg Fine Arts, William Scott Works on Paper 1953-1986, Los Angeles, CA 2013 Karsten Schubert, William Scott 1950s Nude Drawings, London, UK 2013 Jerwood Gallery, William Scott: Divided Figure, Hastings, UK 2013 Enniskillen Castle Museum, Full-Circle: William Scott Centenary Exhibition, Enniskillen, Northern Ireland 2013 Tate St Ives, William Scott, and touring: Hepworth Wakefield; Ulster Museum, Belfast, Northern Ireland 2012 McCaffrey Fine Art at Frieze Masters, William Scott, London, UK 2010 McCaffrey Fine Art, William Scott, New York, NY 2009 F.E. McWilliam Gallery and Studio, William Scott in Ireland. Paintings, Drawings Gouaches and Lithographs 1938–1979, Banbridge, Northern Ireland 2006 Fermanagh County Museum, Celebrating William Scott: Paintings from Fermanagh County Museum, Enniskillen, Northern Ireland 2005 Denise Bibro Fine Art, William Scott Works on Paper, New York, NY 2005 Lorenzelli Arte, William Scott La voce dei colori, Milan, Italy 2005 Archeus Fine Art, William Scott. -
The Date and Context of the Glamis, Angus, Carved Pictish Stones Lloyd Laing*
Proc Soc Antiq Scot, 131 (2001), 223–239 The date and context of the Glamis, Angus, carved Pictish stones Lloyd Laing* ABSTRACT The widely accepted eighth-century dating for the Pictish relief-decorated cross-slabs known as Glamis 2 and Glamis 1 is reviewed, and an alternative ninth-century date advanced for both monuments. It is suggested that the carving on front and back of Glamis 2 was contemporaneous, and that both monuments belong to the Aberlemno School. GLAMIS 2 DESCRIPTION The Glamis 2 stone (Allen & Anderson’s scheme, 1903, pt III, 3–4) stands in front of the manse at Glamis, Angus, and its measurements — 2.76 m by 1.5 m by 0.24 m — make it one of the larger Class II slabs. It is probably a re-used Bronze Age standing stone as there appear to be some cup- marks incised on the base of the cross face. Holes have been drilled in the relatively recent past at the base of the sides, presumably for support struts. Viewed from the front (cross) face the slab is pedimented, the ornament being partly incised, partly in relief (illus 1). The cross is in shallow relief, has double hollow armpits and a ring delimited by incised double lines except in the bottom right hand corner, where the ring is absent. It is decorated with interlace, with a central interlaced roundel on the crossing. The interlace on the cross-arms and immediately above the roundel is zoomorphic. At the top of the pediment is a pair of beast heads, now very weathered, with what may be a human head between them, in low relief. -
SU407 INTRODUCTION to ART in IRELAND (3 Credits)
SU407 INTRODUCTION TO ART IN IRELAND (3 Credits) COURSE OBJECTIVE: This course will trace the development of Irish art from Newgrange to the 2009 Venice Biennale. In the first part of the course students will learn to appraise and evaluate a broad spectrum of prehistoric art and the outstanding artistic achievements of the ‘Golden Age’ of Irish art; the Book of Kells, the Tara Brooch and Irish High Crosses. The second half of the course will focus on how the ‘rediscovery’ of this early artistic legacy informed later artists, culminating in the ‘Celtic Revival’ of the nineteenth and twentieth centuries before moving on to the development of modern art in Ireland, examining the work of Jack Yeats, Mainie Jellett, and many others. The course will conclude with an overview of trends in contemporary Irish art. A key question underlying the various strands of the course will be the development of a distinctly Irish cultural identity in the visual arts and the influence of international trends on Irish artists throughout the ages. COURSE OUTLINE: Week 1 Introductory lecture Passage Grave Art Bronze Age Gold Work FIELD SEMINAR: NATIONAL MUSEUM & NATIONAL GALLERY Week 2 La Tène Art: The Earliest Art of the Celts Irish Art AD 300-500: the Iron Age to Early Christian Transition The Golden Age of Irish Art The Work of Angels: Early Christian Manuscript Art Week 3 Celtic High Crosses: Ornament, Symbolic Significance and Iconography Turning Points in Irish Art The Celtic Revival: Motifs and Symbols The Celtic Revival: People and Landscape Week 4 The Irish Impressionists and the Belle Epoque Jack Yeats Realism, Nationalism and the West Week 5 Mainie Jellett and the Modernists Post War Trends and Contemporary Art ASSESSMENT COURSE TEXTS: Passage Grave Art Jones, C. -
Gothic Architecture the Gothic Period Began with the Construction of the Choir at St
Christian Artistic Periods 1. Early Christian 300 2. Byzantine 500 3. Early Medieval 600 4. Carolingian/Romanesque 800 5. Gothic Art 1200 The Good Shepherd in the Catacomb of Saints Pietro and Marcellino, Rome (E. Christian, early 4th century CE). Edicule, Church of the Holy Sepulchre, Jerusalem Saint Apollinaire as the Good Shepherd, Early Christian, mosaic, St. Apollinaire in Classe, Ravenna, Italy. Christ the Good Shepherd, mosaic, Mausoleum of Galla Placidia, Ravenna Terminology • Catacomb • Fresco • Basilica • Longitudinal plan • Facade • Central plan • Atrium • Latin Cross Plan • Narthex • Mosiacs • Nave • Altar • Apse • Transept Justinian and Attendants (Byzantine, c. 547 CE). Mosaic. San Vitale, Ravenna, Italy Anthemius and Isidorus. Hagia Sophia, (Byzantine, 532-537 CE) Istanbul, Turkey. Pantocrator, Byzantine, mosaic, Hagia Sophia Madonna Enthroned tempera and gold leaf on panel, Byzantine, 1300 ce Early Christian and Byzantine Themes and Concepts: • basilica versus central plan • West versus East • church and state • Mosaics, tempera, and gold-leaf • icon, iconography Purse Cover from Sutton Hoo Ship Burial, Suffolk, England, before 655, gold and enamel, 7.5 ‘ long Animal-Head Post from Oseberg Ship Burial, Maritime Museum in Stockholm, Sweden, c. 825, wood The High Cross of Muiredach, west face, gets its name from an inscription at the base of the west face, saying it was erected by Muiredach. 10th or possibly 9th century, located at the ruined monastic site of Monasterboice, in County Louth, Ireland. Irish high crosses are internationally recognized icons of early medieval Ireland. c. 850, sandstone, 19’ The Lindisfarne Gospels is a manuscript that contains the Gospels of the four Evangelists Mark, John, Luke, and Matthew. -
M.Phil. in Art History Art + Ireland Handbook 2020-2021
School of Histories and Humanities Department of History of Art and Architecture M.Phil. in Art History Art + Ireland Handbook 2020-2021 Contents Overview ............................................................................................................................ 3 General requirements ........................................................................................................ 4 Assessment submission .............................................................................................................. 4 Regulatory notification ............................................................................................................... 4 Contacts ............................................................................................................................. 5 Staff contact information and research interests: ..................................................................... 5 Further information about location and facilities ...................................................................... 7 Programme structure ......................................................................................................... 8 Components ............................................................................................................................... 8 Credit System (ECTS) .................................................................................................................. 8 Modules ............................................................................................................................ -
A History of Irish Art
A History of Irish Art Saturday 10 & Sunday 11 March 2018 11.00 – 16.00 Course Leader: Jenny Phelan Ireland’s rich social and cultural heritage has been explored for millennia through the medium of art. Although most well-known for its contribution to the written word, this course will demonstrate the unique and fascinating history of Ireland’s artistic treasures. From the stone art of Newgrange to the work of Jack B. Yeats, the artworks and objects discussed will provide a window into Ireland’s distinctive cultural identity. Supported by contextual and historical information, this course will trace the history of Irish art from c.3300 BC to the present day. Covering a range of historical objects, paintings, manuscripts and sculptures, it will also explore Ireland’s contribution to the wider art world including coining the phrase the “white cube”. With special guest speakers Barbara Stanley, owner of The Barbara Stanley Gallery of Irish Contemporary Art in London, and Dublin based Irish artist Margaret Egan. Programme Saturday 10th March 10.30 – 11.00 Welcome and Registration 11.00 – 11:45 Ancient and Celtic Art: Stone Age to Early Christian Ireland 11:45 - 12.00 Refreshment Break 12.00 - 13.00 Vikings to the 18th Century: Stagnation and Rebirth 13.00 - 14.00 Lunch (not included) 14.00 - 14.45 19th Century: Irish Artists Emigrate 15.00 - 16.00 Late 19th and Early 20th Centuries: Impressionism and Individuality Sunday 11th March 11.00 – 11:45 The 20th Century: Nationalism and Modernism 11:45 - 12.00 Refreshment Break 12.00 - 13.00 The Late 20th and Early 21st Centuries: The Great Living Artists 13.00 - 14.00 Lunch (not included) 14.00 – 14:45 Gallery Visit 15.00 - 16.00 Contemporary Irish Art in London Guest Speakers: Barbara Stanley and Margaret Egan. -
Outcome Grant June 2021 in a Three Year Partnership Arrangement From
Outcome Grant June 2021 In a three year partnership arrangement from 2022, Culture Ireland will partner with Huddersfield Contemporary Music Festival on a special focus on Ireland, providing a high profile platform for Irish contemporary musicians to reach new audiences. €90,000 has been awarded by the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media for this venture. Dance Application Summary Description Countries Cities Amount Approved (€) Number Total: 73,000 11367 Teaċ Daṁsa presents MÁM at the Sala Roja, Teatros del Canal, Madrid, Spain, from the 8-11 December 2021. Spain Madrid 50,000 Presentation of the livestream of UNCLE RAY by David Bolger of CoisCéim Dance Theatre at The Lowry, Salford, UK and United Kingdom, Manchester, San 11359 18,000 ArtPower, San Diego, USA, from the 9-10 October 2021 United States Diego Presentation of dance piece Hope Hunt and the Ascension into Lazarus by Oona Doherty in Kalamata Greece, Leipzig Greece, Germany, Kalamata, Leipzig, 11331 Germany and Sydney Australia, from the 24 July 2021 to the 16 January 2022 5,000 Australia Sydney Film Application Summary Description Countries Cities Amount Approved (€) Number Total: 10,700 United Newport Beach, Costa 11318 Presentation at the Newport Beach Film Festival 2021 at Newport Beach, California, USA, from the 21 - 28 October 2021. 7,000 States Mesa ‘REAL BUT NOT ACTUAL: A Vivienne Dick Retrospective’ (survey of filmwork) at Jeu de Paume, Paris, France, from the 16-28 11336 France Paris 3,700 November 2021. Literature Application Summary Description Countries Cities Amount Approved (€) Number Total: 18,650 The Times and The Sunday Times Cheltenham Literature Festival present Colm Toibin and Maggie O'Farrell, Desert Island Books, the Forum, United 11332 Cheltenham 8,000 Cheltenham, England, 9-15 October 2021. -
A Reassessment of the Early Medieval Stone Crosses and Related Sculpture of O Aly, Kilkenny and Tipperary
Durham E-Theses A reassessment of the early medieval stone crosses and related sculpture of oaly, Kilkenny and Tipperary Edwards, Nancy How to cite: Edwards, Nancy (1982) A reassessment of the early medieval stone crosses and related sculpture of oaly, Kilkenny and Tipperary, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7418/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 a Reassessment op tbe ecmly raeofeoat stone cRosses ariO ReLateo scaLptciRe of offaly kilkenny ano tfppeRciR^y nancy efocoa&os Abstract This study is concerned with the Early Medieval freestanding stone crosses and related sculpture of three Irish counties, Offaly, Kilkenny and Tipperary. These monuments are recorded both descriptively and photographically and particular emphasis has been placed on a detailed analysis of the Hiberno-Saxon abstract ornament, the patterns used and, where possible, the way in which they were constructed. -
2021 Willie Doherty Selected Biography 1
2021 1 WILLIE DOHERTY SELECTED BIOGRAPHY 1959 Born Derry, N. Ireland 1978-81 Ulster Polytechnic, Belfast The artist lives and works in Derry, N. Ireland AWARDS & RESIDENCIES 1995 Irish Museum of Modern Art Glen Dimplex Artists Award 1999 DAAD residency, Berlin SELECTED ONE-PERSON EXHIBITIONS 2020-2021 Where/Dove, Fondazione Modena Arti Visive; Ulster Museum, Belfast 2018 Willie Doherty: Remains, Regional Cultural Centre, Letterkenny 2017 Willie Doherty: Home, Galerie Peter Kilchmann, Zurich Willie Doherty: Loose Ends, Matt’s Gallery, London No Return, Alexander and Bonin, New York 2016 Passage, Alexander and Bonin, New York Loose Ends, Kerlin Gallery, Dublin Loose Ends, Regional Cultural Centre, Letterkenny Willie Doherty: Home, Villa Merkel, Esslingen 2015 Again and Again, CAM-Fundação Calouste Gulbenkian, Lisbon 2014 The Amnesiac: and other recent video and photographic works, Alexander and Bonin, New York The Amnesiac, Galería Moisés Pérez de Albéniz, Madrid Remains, Kerlin Gallery, Dublin 2013-2015 UNSEEN, City Factory Gallery, Derry; Museum De Pont, Tilburg 2013 Without Trace, Galerie Peter Kilchmann, Zürich Concrete: Photography and Architecture, Fotomuseum Winterthur, Switzerland 2012 Secretion, National Gallery of Denmark, Copenhagen Lapse, Kerlin Gallery, Dublin One Place Twice, Photo/Text/85/92, Alexander and Bonin, New York; Matt’s Gallery, London 2011-2012 Traces, The Speed Art Museum, Louisville, KY DISTURBANCE, Dublin City Gallery, The Hugh Lane 2010 UNFINISHED, Galeria Moisés Pérez de Albéniz, Pamplona LACK, Alexander and