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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.

Creations of diasporic aesthetics and migratory imagery in Chinese Australian Art
Birgit Mersmann . Accessed 5 February 2019. 2 The Chinese mass emigration all over the world was a response to Qing China’s defeat by Britain in the First Opium War and its forced opening to the West in 1842. 3 The concept of transmigration is closely connected to the concept of transnationalism. Laurence J.C. Ma notes that ‘ideas about transmigration and diaspora encompass more dynamic, flexible, conceptually richer and more inclusive perspectives than the traditional conceptions of international migration. Transmigration and diaspora are among the most important constituent

in Art and migration
Susan Waller

to France, and in particular Paris, forms part of what has been called the ‘Italian diaspora’ – the mass emigration of Italians between 1876 and 1914 (Rosoli, 1985 : 99–109; Vecoli, 1995 : 114–116). 3 Italian models working in Parisian studios were a small group within the larger immigrant Italian population. Posing was not a professional category recorded for official census records, so in order to arrive at a figure for their numbers it is necessary to extrapolate from a variety of sources (Seine, 1887 : LXV). 4 In 1886, a survey conducted by an unnamed

in Art and migration
ACT’s procedures of ‘pure creation’, 1993–96
Angela Harutyunyan

, humanitarian problems stemming from the earthquake in the northern regions and the start of mass emigration to the USA, Western Europe and Russia. But this was also a time of hope, since it saw the construction of a new independent state and the institutionalization of the ideas of citizenship, democracy and free speech – all fused with the hopes and sentiments of a ‘national liberation’ obstructed during the seventy years of ‘the communist experiment’, as it was often described. At least, thus spoke the dominant historical narrative of official culture. The collapse of the

in The political aesthetics of the Armenian avant-garde
Kathryn Milligan

apprentice. The Kernoff family lived initially at 12 Raymond Street before later moving to 13 Stamer Street where Harry lived and worked for the rest of his life, using the spacious attic as his studio. Stamer Street was part of the area then known as ‘Little Jerusalem’ due to the large number of Jewish families living in the area: this community had grown exponentially around the turn of the century due to mass emigration from Eastern Europe.9 Based around the city’s South Circular Road, the area that comprised ‘Little Jerusalem’ contained good housing stock, mostly built

in Painting Dublin, 1886–1949