Art in Ireland since 1910 / Fionna Barber.

By: Barber, Fionna, 1957-.

Material type: materialTypeLabel

BookPublisher: London : Reaktion, 2013Description: 318 pages : 266 illustrations (222 colour) ; 25 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 9781780230368.Subject(s): Art, Irish -- 20th century | Art and society. -- IrelandDDC classification: 709.415

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode	Item holds
General Lending	MTU Crawford College of Art and Design Library Lending	709.415 (Browse shelf(Opens below))	1	Checked out	01/03/2024	00228090

Total holds: 0

Enhanced descriptions from Syndetics:

Ireland and Britain have an entwined and contentious past. Though southern Ireland broke with the Commonwealth in 1948, Northern Ireland remains a member of the United Kingdom to this day. As Fionna Barber shows in Art In Ireland since 1910 ,Ireland's relationship to its closest neighbor has played a key role in the development of its visual culture. Using the work of Jack B. Yeats, William Leech, John Lavery, William Orpen, F. E. McWilliam, Francis Bacon, and others, Barberlooks at how Ireland's art practice during the past century has been shaped by the twin forces of nationhood and modernity. Barber reveals that the drive to decolonization in the Irish Free State underpinned a predominance of images of remote landscapes and rugged peasantry. She moves beyond discussions of art in Northern Ireland--often reduced to a concern with the Troubles, the period of ethno-political conflict that began in 1969, and the significance of its status as part of Britain--to consider the region's art practice in relation to ideas of nation and the modern. Drawing parallels with artists from other former British colonies, she also looks at the theme of diaspora and migration in the work of Irish artists working in Britain during the 1950s. The first book to examine Irish art from the early twentieth century to the present day, this beautifully illustrated book adds a new dimension to our conception of this idyllic country.

"Art in Ireland since 1910 is the first book to examine Irish art from the early twentieth century to the present day. In this highly illustrated volume Fionna Barber looks at the work of a wide range of artists from Yeats and Le Brocquy to Cross and Doherty, many of whom are unfamiliar to audiences outside Ireland. She also casts new light on Francis Bacon and other figures central to British art, assessing the significance of their Irishness to an understanding of their work. From the rugged peasantry of the Gaelic Revival to an increasing diversification of art practice towards the end of the century, Art in Ireland since 1910 tracks the work of artists that emerged and developed within a context of a range of very different social and political forces: not just the conflict in the North, but the emergence of feminism and migration as two of the factors that contributed to the unravelling of entrenched concepts of Irish identity. Barber looks at the theme of diaspora in the work of Irish artists working in Britain during and after the 1950s, investigating issues similar to those facing artists from other former British colonies, from India to the Caribbean. She chronicles a period that culminated with art practice and the sense of Ireland as a nation that would have been unrecognizable to its people a hundred years before."

Includes bibliographical references (p. 296-304) and index.

Table of contents provided by Syndetics

Chronology
Introduction: The Ghost Ship, Nation and Modernity
1 Ethnicity, Revolution and the Modern, c. 1910-1918
2 Modernity and Independence
3 The West, the South and the North: Art in Ireland in the 1930s
4 War, its Aftermath and the Visual, 1939-1947
5 The Significance of the Overlooked
6 Irish Art and Diaspora in the 1950s
7 Modernization and its Consequences: The 1960s
8 The Conflict in the North and Irish Art, 1968-1979
9 Postmodernism and Ireland
10 The Unravelling Nation, 1990-1998
11 After the End of Progress
References
Bibliography
Acknowledgements
Photo Acknowledgements
Index

Reviews provided by Syndetics

CHOICE Review

Unlike many wide-ranging art historical surveys, this record of Irish art of the 20th/21st centuries demonstrates a distinct interpretive point of view that is signaled on its first pages with a 1900-2010 "political chronology" of Ireland. The events listed therein--from the Easter Rising to the 2007 economic downturn that brought the "Celtic Tiger" period to an abrupt halt--guide both the chapter structure and Barber's emphasis on notions of nation and modernity as central to the production and critical consumption of Irish art. Barber (Manchester Metropolitan Univ., UK) is also sensitive to the gender politics of Irish art, introducing readers to such women artists as Camille Souter, and reflecting on the reasons for their marginalization. Barber's approach yields a dense and rewarding text that deftly accomplishes dual and equally daunting tasks: writing the first history of Irish art of this period that moves beyond discussion of only major figures such as Jack Yeats and Francis Bacon; and offering a sophisticated analytical method that can be used to coherently interpret a diverse body of work that includes landscape painting and video art. The many color illustrations and lengthy bibliography are also of great benefit to readers of this landmark publication. Summing Up: Highly recommended. Upper-division undergraduates through researchers/faculty. K. Rhodes Drew University

Author notes provided by Syndetics

Fionna Barber is a principal lecturer for contextual studies in the Manchester School of Art at Manchester Metropolitan University, UK.