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Visualising a changing city

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, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

Kathryn Milligan

and The Citizen in Ulysses, or Act Two of Seán O’Casey’s The Plough and the Stars). From the 1930s onwards, several of the city’s watering holes became particularly associated with writers and artists. Dublin’s literary pubs attracted ‘not only writers but artists, professors and amateur philosophers’.69 For (male) writers such as O’Flaherty, Kavanagh, Brendan Behan, and Austin Clarke, the pub was one of their main places for socialising in Dublin, although Samuel Beckett found their presence in these haunts overwhelming.70 The atmosphere of one of the coteries was

in Painting Dublin, 1886–1949
Ben Highmore

Samuel Beckett ‘go’ with certain styles like matching handbags. There is in the city a creeping imperialism of taste, in which more and more commodities are made over to being mere expressions of personal identity. The piece of furniture, the pair of shoes, the book, the film are important not so much in themselves but for what they communicate about their owners; and ownership is stretched to include what one likes or believes in as well as what one can buy. 7 It is a familiar refrain that

in Lifestyle revolution
Kimberly Lamm

-century literary experimentation. Piper notes that in her early twenties she engaged with the writers of the modernist avant-garde. She cites as key influences the work of the French Nouveau-Roman author Alain RobbeGrillet, the Irish avant-garde playwright Samuel Beckett, and the American modernist writer Gertrude Stein.41 In distinct ways, these writers draw attention to the materiality of language and the way it exceeds strict, reliable orders of signification. They highlight how that materiality moves across visual, aural, and textual registers, which ultimately reveals the

in Addressing the other woman
Abstract only
Prophecy to Sun Woman I
Griselda Pollock

surface of a painting as a kind of tomb. Yet, in the face of a history that he was also witnessing differently in his writings, Bataille’s metaphorics are shattered by an unthinkable historical reality that would shape some of the major writings in the wake of the catastrophe in the works of poet Paul Celan and playwright Samuel Beckett. Writing of the latter, Theodor Adorno explains: This could be shown in Beckett’s works. These enjoy what is today the only humanly respectable fame: everyone shudders at

in Killing Men & Dying Women
Kathryn Milligan

, accompanied by curfews and search trucks, added to the tense mood in the city at this time. This close and confined atmosphere is further explored by Yeats in the opening pages of his 1936 novel, The Amaranthers, when a character – walking in a city at night – sees ‘light hit the wall at the end of the street behind her, a strong shaft of light, it whisked about and then went out. She knew it was a search light from an armoured car.’59 As 111 MILLIGAN 9781526144102 PRINT.indd 111 01/10/2020 14:52 Painting Dublin, 1886–1949 Samuel Beckett noted in his review of the book

in Painting Dublin, 1886–1949
Brigitte Rollet

–1973), a stage director considered by some as one of the most important of the 1950s, whose works include inter alia stage adaptations of Samuel Beckett, Jean Genet, Aimé Césaire and Eugène Ionesco. Both her parents had been resisters during the Second World War and were left-wing political activists. Her mother was among the 121 writers and artists who in 1960 signed the ‘déclaration sur le droit à l’insoumission en Algérie’, 1 which defended the right of soldiers to refuse to do their military service in Algeria. In 1952

in Coline Serreau
Ronnie Close

connected to a large cement block on which the man stands is a futile act if not an absurd one, and a gesture which resonates in the struggle of Sisyphus in Greek mythology or even the existential interdependency of characters Hamm and Clov in Samuel Beckett's play Endgame. Art critic Osman Can Yerebakan reads representation in Ahmed's self-portraits as part of the debates on male identity: ‘The unending battle reflects the entrapment of masculinity which Ahmed long found himself contained by’ (Yerebakan 2021 ). However, in this visual composition

in Decolonizing images
Abstract only
Caroline Turner
and
Jen Webb

projected onto the face of a veiled female figure. The imagery is accompanied by a haunting soundtrack of music and voices. One of the voices says, ‘This is Cassandra speaking’, while the chorus quotes lines from Joseph Conrad, Heiner Müller and Samuel Beckett, including one who says, ‘In the name of the victims’.52 Malani has said, ‘for me that particular poem In Search of Vanished Blood epitomizes the Partition in every possible way. And every time there have been sectarian problems and violence this poem completely comes to mind.’53 While her practice is often placed

in Art and human rights
Leah Modigliani

Gallery, 1988), pp. 6–19: p. 9. 37 Doherty’s double issue of Aspen 5+6 was published the autumn of 1967: four films, five records, critical texts and specially commissioned artists projects were shipped in a white box. The box included works or texts by Hans Richter, Lászlo MoholyNagy, Robert Rauschenberg, Robert Morris, Samuel Beckett, Marcel Duchamp, Susan Sontag, and Roland Barthes amongst others. Barthes’ essay ‘Death of the The theory and practice of a defeatured landscape Author’ was published there for the first time, with the magazine format in mind. See

in Engendering an avant-garde