Marking the one hundred and fiftieth anniversary of the nationwide Gallery of eire, celebrated Irish writers locate proposal in its remarkable collection
In 1864 the nationwide Gallery of eire opened to the general public in Dublin. It then housed simply 112 work. this present day the gallery holds over 15,000 works of eu paintings and is extraordinary either for its vast number of Irish paintings and its Italian baroque and Dutch masters paintings.
For this anthology, released to mark the one hundred and fiftieth anniversary of the nationwide Gallery of eire, fifty-six Irish writers have contributed brief tales, essays, and poems encouraged by means of photos within the assortment. those literary responses to paintings are via turns profound, playful, and insightful. Authors comprise acclaimed figures in modern Irish literature, comparable to Colm Tóibín, John Banville, John Boyne, Roddy Doyle, Colum McCann, Paula Meehan, Paul Muldoon, John Montague, and Seamus Heaney. the photographs that the writers have chosen are intriguingly various. they vary from previous grasp work by way of Caravaggio, Rembrandt, El Greco, and Velázquez to works via Impressionist and Post-Impressionist artists resembling Claude Monet and Pierre Bonnard, in addition to works by means of Irish artists akin to Jack B. Yeats, John Lavery, Gerard Dillon, and Paul Henry.
The e-book is equipped alphabetically by way of author and every textual content is illustrated with the selected paintings in colour. Edited with preface through Janet McLean, Curator of eu artwork 1850–1950 on the NGI. 60 colour illustrations
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Extra info for Lines of Vision: Irish Writers on Art
The tradition was once bursting open, minds have been increasing (nudged alongside by means of LSD), and it was once in the course of the subsequent decade that issues particularly started to swap. within the transition from the album disguise artwork of Revolver to that of Sgt Pepper’s we had one other Dorothy second. color used to be the following to stick. by way of the seventies, besides the fact that, we have been saturated within the stuff, and a brand new fault line were drawn. color was once the current; black and white was once the previous. And from that very viewpoint, while I became and seemed again – in time, on heritage – it used to be precise: the realm quite did appear to be in black and white. Vietnam and Kennedy have been, global struggle II in its entirety was once, the Wall highway Crash and the Roaring Twenties have been. eire used to be. And Dublin urban most definitely used to be. there have been splashes of color linked to different towns, London, Paris, big apple – those glimpsed mainly in work or illustrations – yet Dublin, to my brain, was once resolutely monochrome, uninteresting, dreary and stilted. Black and white. the picture I had of the Dublin that existed ahead of my very own time got here from photos and newsreels. My mom and dad, whilst i used to be within the seventies, existed in color – truly (as did their outfits, and the Axminster carpet in our lounge, and the Ford Cortina open air within the driveway). but if they have been more youthful, getting married on a windy day in Clontarf in 1953, say, or ready outdoor the Metropole, my mom and dad – preposterously skinny and gawky – existed unambiguously in black and white. whilst i'm going extra again, leapfrogging from the Emergency over the just about non-existent Nineteen Thirties, to the busy, turbulent, violent Nineteen Twenties every little thing is in black and white, occasionally sharply outlined, occasionally blurry, a spot and a time the place all of the males – be they rebels, clergymen or politicians – are donning hats. individuals are uncomfortable in entrance of cameras, too, alienated, both posing too officially or looking at at it with suspicion. Then there are the widely used destinations – road corners, constructions, monuments – yet those are both abandoned or half-demolished. more and more, this model of Dublin is outlined via the Civil warfare – the bombardment of the 4 Courts, a mass assembly in O’Connell road, jerky photos of functional, uniformed males striding in regards to the position with weapons. past the pictures and newsreels, too, my effect used to be of an anaemic, spiritless position. even supposing Joyce’s Dublin was once from a touch past time, the influence of his imaginative and prescient lingered. town used to be a centre of paralysis. Of scrupulous meanness. Agenbite of inwit. think my shock, then, while I first came upon the paintings of Jack B. Yeats. It wasn’t within the nationwide Gallery, both. It used to be at the conceal of a 1971 Penguin paperback version of At Swim-Two-Birds through Flann O’Brien – a author whose Dublin has ever considering the fact that been inextricably associated in my brain with Yeats’s. In a manner they either did a similar factor. They lively a Dublin I had by no means identified, by way of infusing town with oxygen – O’Brien’s the oxygen of anarchic humour, and Yeats’s the oxygen of riotous color. The Bus through the River intrigued me, however it wasn’t until eventually I observed The Liffey Swim within the Gallery that the whole effect of this hit me.