Overview

Prompted by the centennial commemoration of the 1922 Paris Exposition d'Art Irlandais, Seeing Ireland explores the intersection of art and politics in the century that followed. While the Irish Revival of the late nineteenth and the early twentieth century is often associated with literary figures such as Joyce and Yeats, Seeing Ireland's focus on visual arts sheds new light on a pivotal era of Irish cultural and national development. The collection explores the 1922 Paris diaspora congress and its associated art exhibition, the development of an Irish school of art, official visual representations of post-independence Ireland, and the continuing intermingling of art and the state in subsequent decades. The Paris exhibition happened at a pivotal moment in Ireland's history, and the administration used Irish art to present a self-defined identity of the new state on the world stage for international consumption. This collection reflects on that event and on the recent Decade of Centenaries commemoration of the Irish revolutionary period. Academics and practicing artists alike contribute thought-provoking analyses of the exposition, Irish visual culture, and Irish diaspora politics. The collection ends with an exploration of the constantly negotiated relationship among the state, the arts, and memory.

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9780268210670

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Reviews

""A superb collection of essays, this book makes a highly original contribution to the study of Irish art."" --Diarmuid Ó Giolláin, author of Exotic Dreams in the Science of the Volksgeist ""This is a work of high scholarly exigency which will be precious to anyone who wants to know more about the role played by visual art in the definition of a national identity or to find out more about Ireland's greatest post-independence artists."" --Sylvie Mikowski, author of How Popular Culture Travels ""This is the first Irish art history book to set out all the disparate discourses and conflicting claims about national identities aired by politicians, artists, writers and cultural thinkers at the Irish Race Congress in Paris in 1922 and to examine how contemporary Ireland deals with those expectations in a very different context."" --Catherine Marshall, co-editor of Art and Architecture of Ireland

""A superb collection of essays, this book makes a highly original contribution to the study of Irish art."" - Diarmuid Ó Giolláin, author of Exotic Dreams in the Science of the Volksgeist ""This is a work of high scholarly exigency which will be precious to anyone who wants to know more about the role played by visual art in the definition of a national identity or to find out more about Ireland's greatest post-independence artists."" - Sylvie Mikowski, author of How Popular Culture Travels ""This is the first Irish art history book to set out all the disparate discourses and conflicting claims about national identities aired by politicians, artists, writers and cultural thinkers at the Irish Race Congress in Paris in 1922 and to examine how contemporary Ireland deals with those expectations in a very different context."" - Catherine Marshall, co-editor of Art and Architecture of Ireland

Author Information

Ciaran O'Neill is associate professor of nineteenth-century history at Trinity College Dublin. He is the co-director of the Trinity Colonial Legacies Project. His most recent books include Power and Powerlessness in Union Ireland and Ireland, Slavery and the Caribbean (co-edited with Finola O'Kane). Billy Shortall is a research fellow at the Irish Art Research Centre, Trinity College Dublin, and co-developed a virtual re-creation and art exhibition of the 1922 Paris World Congress (www.seeingireland.ie). He recently contributed chapters to the Routledge Companion to Irish Art and Hilary Heron, A Retrospective.

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