Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland such artworks have been overlooked in favour of the rural and pastoral. Framed by the shift from city of empire to capital of an independent republic, this book examines artworks by Walter Osborne, Rose Barton, Jack B. Yeats, Harry Kernoff, Estella Solomons and Flora Mitchell, encompassing a variety of urban views and artistic themes. While Dublin is already renowned for its representation in literature, this book will demonstrate the many attractions it held for Ireland’s artists, offering a vivid visualisation of the city’s streets and inhabitants at a crucial time in its history.

This text explores artists' visualisations of Dublin during a key period of the city's political and social history. Based on close and contextual readings of original paintings and prints, along with new archival research, it shows how artists in Ireland creatively responded to the urban environment where they lived and worked.

Taking the visual arts as its focus, this anthology explores aspects of cultural exchange between Ireland and the United States. Art historians from both sides of the Atlantic examine the work of artists, art critics and art promoters. Through a close study of selected paintings and sculptures, photography and exhibitions from the nineteenth century to the present, the depth of the relationship between the two countries, as well as its complexity, is revealed. The book is intended for all who are interested in Irish/American interconnectedness and will be of particular interest to scholars and students of art history, visual culture, history, Irish studies and American studies.

This monograph seeks to recover and assess the critically neglected comic strip work produced by the Irish painter Jack B. Yeats for various British publications, including Comic Cuts, The Funny Wonder, and Puck, between 1893 and 1917. It situates the work in relation to late-Victorian and Edwardian media, entertainment and popular culture, as well as to the evolution of the British comic during this crucial period in its development. Yeats’ recurring characters, including circus horse Signor McCoy, detective pastiche Chubblock Homes, and proto-superhero Dicky the Birdman, were once very well-known, part of a boom in cheap and widely distributed comics that Alfred Harmsworth and others published in London from 1890 onwards. The repositioning of Yeats in the context of the comics, and the acknowledgement of the very substantial corpus of graphic humour that he produced, has profound implications for our understanding of his artistic career and of his significant contribution to UK comics history. This book, which also contains many examples of the work, should therefore be of value to those interested in Comics Studies, Irish Studies, and Art History.

Published here for the first time, Maura Laverty’s plays Liffey Lane, Tolka Row and A Tree in the Crescent are rooted in 1950s Dublin, its territories and enclaves. Teeming with the lives of the poor, the ambitious, the trapped and the struggling, the plays are moving, funny and vividly alive. They capture the capital in a state of transformation – reaching for modernisation while still enmired in stagnant class divisions, poor housing and narrow social values. Key to all three plays are questions of home, the lives of women and girls, and the impact of conservative government policies and church attitudes. Already a public figure in Irish life, and an influencer before her time through her fiction, cookery books and broadcasting, Laverty’s plays met with huge success when staged in 1951 and 1952 by Hilton Edwards of the Gate Theatre Company at Dublin’s Gaiety and Gate Theatres and on tour. Laverty’s trilogy is a significant and long-awaited part of the twentieth-century Irish theatrical canon. This volume presents the Trilogy, including a preface by Christopher Fitz-Simon, who knew and worked with Laverty. The editors’ introduction contextualises Laverty’s work and considers the theatrical values of the plays.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

An encyclopedic sourcebook for camouflage enthusiasts in all research areas who want to explore the history and development of camouflage (artistic, biological and military) since the 19th century. Richly illustrated with historic photographs, diagrams and drawings. Includes subject timeline, bibliography and index.