Sense, Direction & Selected Images: Irish Art in the 1980s

Circa ◽  
1990 ◽  
pp. 33
Author(s):  
John Hutchinson
Keyword(s):  
Sense Direction ◽  
Irish Art

Dekoracje irlandzkich psałterzy

Vox Patrum ◽  
2013 ◽  
Vol 60 ◽  
pp. 93-109
Author(s):  
Ryszarda Maria Bulas
Keyword(s):  
Irish Literature ◽  
Anglo Saxon ◽  
Chronological Order ◽  
Irish Art

A particularly interesting question in medieval Irish literature, is decorating Psalters. Since the Biblical psalms were very popular among the Anglo-Saxons, they were often copied and decorated also in Ireland. Initially, the decoration was limited to ornamentation letters. Later there were elements depicting scenes from the life of David, which had its origins, according to F. Henry, in the Carolingian art. In this article, the author presents in chronological order all decorated Irish and Anglo-Saxon Psalters, which show visible influence of the Irish art (Cathach, Durham Cassiodorus, Psalter of Cantorbury, Cotton Psalter, Southampton Psalter, Ricemarcus’ Psalter, Liber hymnorum, Psalter of the St. Caimin).

In Search of the Bigger Picture : The New Irish Art

2007 ◽  
Vol 32 (2) ◽  
pp. 101-123
Author(s):  
Catherine Marshall
Keyword(s):  
Irish Art

New terrains: ‘Northern Irish art’ in the wider world

2017 ◽  
Author(s):  
Declan Long
Keyword(s):  
Northern Ireland ◽  
Art World ◽  
Northern Irish ◽  
Departure Point ◽  
Economic Forces ◽  
Global Art ◽  
Venice Biennale ◽  
Irish Art

Chapter two asks how ‘Northern Irish art’ of the post-Troubles era might be critically approached and appraised in light of broader contemporary conditions. The relation of shifts in Northern Ireland’s art to wider developments in the global art world are addressed and the chapter discusses the ways in which artists from Northern Ireland have been positioned and presented internationally in the post-Troubles years. This chapter takes the 2005 exhibition of art from Northern Ireland at the Venice Biennale as the departure point for an extended examination of how the representation of ‘local’ concerns is shaped in relation to wider cultural and economic forces.

scholarly journals The National Gallery of Ireland Library

2000 ◽  
Vol 25 (3) ◽  
pp. 21-24 ◽  
Author(s):  
Catríona Cannon
Keyword(s):  
National Gallery ◽  
Major Revision ◽  
Classification Procedures ◽  
Irish Art

The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.

Ancient Irish Art. The Fictilia of the Cairns and Crannogs

1878 ◽  
Vol 4 ◽  
pp. 16
Author(s):  
Llewellynn Jewitt
Keyword(s):  
Irish Art

Selling National Value at the Auction Market: The London and Dublin Markets for Irish Art

2011 ◽  
Vol 5 (1) ◽  
pp. 139-153 ◽  
Author(s):  
Marta Herrero
Keyword(s):  
Economic Value ◽  
Art Market ◽  
Cultural Value ◽  
Art Markets ◽  
Auction Markets ◽  
Auction Market ◽  
Cultural Forms ◽  
Irish Art

This article explores how nationality is articulated as a form of art value in the art market, where art is defined in two related ways: instrumentally, in terms of its economic value, and culturally, by defining its meaning and significance. Focusing on the auction market of Irish art in London and in Dublin, and drawing upon interviews with auctioneers in both capitals, it investigates how nationality is produced and marketed as a form of cultural value for Irish art, comparing the specific dynamics of this process in both London and Dublin auction markets. Whilst the findings in this article agree with existing literature on the economic and cultural forms of art value prevalent in art markets, they add to the literature by arguing that the cultural, national element of value-making for Irish art is very pronounced.

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