Details
Painting Dublin, 1886-1949
Visualising a changing city|
129,99 € |
|
| Verlag: | Manchester University Press |
| Format: | EPUB |
| Veröffentl.: | 06.12.2020 |
| ISBN/EAN: | 9781526144126 |
| Sprache: | englisch |
| Anzahl Seiten: | 296 |
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Beschreibungen
Delving into a hitherto unexplored aspect of Irish art history,
<i>Painting Dublin, 1886–1949 </i>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.
<i>Painting Dublin, 1886–1949 </i>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 book 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.
Introduction: Painting Dublin, from Empire to Republic, 1886–1949
1 Poverty, parks and painting
2 Fog, gas and the picturesque
3 Dockers, swimmers and dancers
4 Radicals, workers and drinkers
5 Glamourous, old and vanishing Dublin
Conclusion
Index
1 Poverty, parks and painting
2 Fog, gas and the picturesque
3 Dockers, swimmers and dancers
4 Radicals, workers and drinkers
5 Glamourous, old and vanishing Dublin
Conclusion
Index
Kathryn Milligan is an art historian specialising in nineteenth- and twentieth-century Irish art
From the middle of the nineteenth century, attitudes towards the city and urban identity in Ireland were shaped by the promotion of rural life as the marker of Irishness. This was set against the view of cities, and Dublin in particular, as being colonial, industrial, or commercial environments. Moving beyond such a simplistic perspective, this book represents the first detailed study of the depiction of Dublin in nineteenth- and twentieth-century art. It demonstrates the important role played by the portrayal and experience of urban life – a role shaped by historical, political, and social change. Focusing on the work of Walter Osborne, Rose Barton, Jack Butler Yeats, Harry Kernoff, Estella Solomons, and Flora H, the book proceeds through close readings of the artworks themselves, combined with archival and primary source research. It also takes care to contextualise the artists’ visions in relation to other visual and literary sources such as photography, film, literature, and poetry.
<i>Painting Dublin</i> is aimed at students and scholars working on art history, Irish urban and social history, and Irish studies. It will also appeal to general readers interested in art history and Irish history.
<i>Painting Dublin</i> is aimed at students and scholars working on art history, Irish urban and social history, and Irish studies. It will also appeal to general readers interested in art history and Irish history.
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