Western Procession by Mainie Jellett. Photo, National Gallery of Ireland
Pioneering Irish Modernists are celebrated in a major exhibition which opens on April 10 at the National Gallery of Ireland. Mainie Jellett & Evie Hone – The Art of Friendship brings together 90 works. It explores their experiences in the 1920’s where they studied with the French Cubists André Lhote and Albert Gleizes in Paris and the south of France. traces their careers back to Ireland and highlights the early convergences and later divergences in their styles. The paintings, stained glass and preparatory drawings reveal how both women were trailblazers in Irish art while remaining connected to conventional themes like religion and landscape. Hone (1894-1955) was an early pioneer of Cubism before turning to stained glass, Decoration by Jellett (1897–1944) was one of the first abstract paintings shown in Ireland when it was exhibited at the Society of Dublin Paintings group show in 1923. The first joint exhibition of their work since 1924 runs until August 10.
Ludovico Mazzolino: The Crossing of the Red Sea (c.1480–1528)
Ludovico Mazzolino’s Renaissance masterpiece, The Crossing of the Red Sea, (1521) was unveiled at the National Gallery of Ireland today following an extensive research and conservation project. An exhibition supported by the TEFAF Museum Restoration Fund will run from February 15 to July 6.
Mazzolino, renowned for his small devotional paintings, primarily worked for the d’Este rulers of Renaissance Ferrara. Over time, he gained the confidence to undertake more ambitious and complex compositions. The Crossing of the Red Sea is one of only three surviving large-scale works by the artist, alongside The Massacre of the Innocents (Galleria Doria Pamphilj, Rome) and The Dispute in the Temple (Gemäldegalerie, Berlin). Recognised as a rare masterpiece, it serves as a crucial link between these key paintings from his mature career. Acquired by the National Gallery of Ireland in 1914, this remarkable work has remained out of public view for many years due to its fragile condition.
The restored painting is housed in a purpose-built microclimate frame and is presented alongside The Holy Family, (c.1500) by Lorenzo di Ottavio Costa (c.1460-1535), one of Mazzolino’s first teachers, offering insight into the artistic traditions that shaped his work, and the evolution of his distinctive style and technique. Also included is a smaller work by Mazzolino, The Tribute Money (c. 1527) from Christ Church, University of Oxford.
THE annual Turner watercolour exhibition is now underway and with major exhibitions focussed on Picasso, Mainie Jellett and Evie Hone it is going to be an exciting year at the National Gallery of Ireland. We will have to wait until October for Picasso: From the Studio, a monographic exhibition in collaboration with the Musée Picasso national-Paris.
Picasso lived surrounded by his art. His personal life and his work, his homes and his studios were always intimately linked. This exhibition places Picasso in the context of his studios, highlighting the various facets and phases of his art and life. It will explore the key locations that defined him, from his arrival in Paris at the start of the twentieth century to his studio in Villa La Californie (1955-1961) in Cannes. Featuring paintings, sculptures, ceramics, and works on paper, as well as photographic and audio-visual works the exhibition will run from October 11 to February 22, 2026.
Mainie Jellett & Evie Hone – The Art of Friendship from April 10 to August 10 will bring together 90 works from these pioneering Irish modernist women artists. The exhibition will highlight the early convergences and later divergences in their styles as they developed distinct artistic voices. Featuring paintings, stained glass, and preparatory drawings, it reveals how both women were trailblazers in Irish art although remaining connected to conventional themes such as religion and landscape.
Ludovico Mazzolino – The Crossing of the Red Sea Photo, National Gallery of Ireland
Among many more events at the Gallery is the display of Ludovico Mazzolino’s masterpiece The Crossing of the Red Sea (1521). On display from February 15 to July 6 it celebrates the conservation and re-display of a rarely seen work. Supported by a grant from the TEFAF Museum Restoration Fund, the painting has undergone extensive scientific analysis and conservation, revealing its remarkable detail and historical significance. Mazzolino, who worked extensively for the D’Este rulers of Renaissance Ferrara, is best known for his small- scale paintings.
Meantime the annual Turner extravaganza at the National Gallery comes with a new twist in 2025 with an exciting exchange with the National Galleries of Scotland. Both institutions benefitted from the bequest of the wealthy English collector Henry Vaughan. The 38 Vaughan Bequest Turner watercolours which he bequeathed to Scotland are now on display in Dublin. Ireland’s Turner collection are being showcased this month at the Royal Scottish Academy Building in Edinburgh.
JMW Turner – The Piazetta National Galleries of Scotland. Henry Vaughan Bequest 1900
Visitors have an opportunity to see and appreciate a new selection of these masterful watercolours in the annual January show of 2025.The works on loan range from his detailed topographical views of the 1790s to the vibrant and expressive watercolours of Venice and the Alps that highlight his innovative techniques. The exchange, very much in the spirit of Vaughan’s bequest, comes after many years of discussion and planning by the two institutions.
Bequeathed in 1900 the Turner watercolours have been displayed every year since 1901 with the notable exception of the pandemic year of 2021. It was a stipulation of the bequest that the delicate watercolours be displayed only in January, when the natural light is at its lowest. Turner’s Watercolours: Scotland’s Vaughan Bequest runs until January 31 and is supported by Grant Thornton.
JMW Turner – Sea View National Galleries of Scotland. Henry Vaughan Bequest 1900
The annual Turner exhibition held at the National Gallery of Ireland in January is different in 2025. This year – the 250th anniversary of Turner’s birth – is being marked by an exchange with the National Galleries of Scotland. In an exhibition which opens today 38 Vaughan Bequest Turner watercolours from the Scottish collection will be displayed in the Print Gallery in Dublin, while the National Gallery of Ireland’s Turner collection will be showcased at the Royal Scottish Academy in Edinburgh. The show runs until January 31.
These watercolours highlight his mastery of light, colour and atmosphere, and his ability to draw attention to the human experience within the natural world. In 1900, the National Gallery of Ireland and the National Galleries of Scotland received watercolours and drawings by J.M.W. Turner (1775–1851) through the bequest of collector Henry Vaughan (1809–1899). Vaughan’s will divided his Turner collection between the national galleries in Dublin, Edinburgh, and London, with the stipulation that they be exhibited every January, free of charge. Since 1901, the National Gallery of Ireland and National Galleries of Scotland have proudly upheld this tradition.
PABLO PICASSO (1881-1973) – Femme et jeune garcon nus
A retrospective of Picasso will be among the highlights of next year’s programme at the National Gallery of Ireland. The gallery, in collaboration with the Musée Picasso national-Paris, will present Picasso: From the studio from October 11, 2025 to February 22, 2026. Picasso lived surrounded by his art. His personal life and his work, his homes and his studios were always intimately linked. This exhibition places Picasso in the context of his studios, highlighting the various facets and phases of his art and life. It will explore the key locations that defined him, from his arrival in Paris at the start of the twentieth century to his studio in Villa La Californie (1955-1961) in Cannes. It will feature paintings, sculptures, ceramics, and works on paper, as well as photographic and audio-visual works. Pictured here is a 1969 work on paper entitled Femme et jeune garcon nus which comes up at Christie’s 20th century evening sale in New York on November 19 with an estimate of $1 million – $1.5 million.
Mildred Anne Butler, 1858 – 1941 – A Sheltered Corner – Courtesy of National Museums NI, Ulster Museum Collection.
Mildred Anne Butler: At Home in Nature opens at the National Gallery of Ireland on September 14 and will run until next January 5. This new display of the art of one of Ireland’s first professional women artists is part of the Gallery’s broader effort to celebrate the contributions of Irish women artists. It showcases 16 watercolours, drawn from public and private collections across the island of Ireland, along with a selection of archival material, on loan from Trinity College Dublin, which provide further insights into her life as a working artist. Mildred Anne Butler was born and raised at Kilmurry, a grand mid-18th-century manor house near Thomastown, County Kilkenny. The 350-acre estate provided her with an endless source of inspiration, and a wealth of exquisite colour to paint. Her work captures the essence of her immediate environs with both striking accuracy and a sense of fresh immediacy. She is best known for her sumptuous garden scenes, as well as her detailed depictions of animals and birds, which she cleverly imbued with subtleties of character.
Saint Joseph with the Christ Child, c.1637, Artist: Guercino (1591-1666). National Gallery of Ireland, Purchased 1882
Guercino & Gris: Conserving Canvas from Different Eras, which explores historical and modern conservation treatments on works of art, has just been released by the National Gallery of Ireland. It focuses on three works from the National Gallery of Ireland’s collection: Saint Joseph with the Christ Child (c.1637), by Giovanni Francesco Barbieri, known as Guercino (1591-1666), and two collages A Guitar, Glasses and a Bottle and Carafe, Cups and Glasses (1914), by Juan Gris (1887-1927), which was initially one double-sided artwork.
The 64-page hardback publication explores structural conservation treatments on works of art and the changing approaches to these treatments over time. It discusses treatments and processes informed by research carried out by the National Gallery of Ireland’s new Scientific Research Laboratory, and how scientific advancements in conservation are contributing to the care of the collection. The publication marks the completion of the conserving canvas project at the National Gallery, made possible by a grant from the Getty Foundation. It is available to purchase online and in-shop at the gallery priced €29.50.
Rembrandt van Rijn (1606-1669) – Landscape with Cottages and a Hay Barn, (1641). Etching with touches of drypoint on paper. Image, National Gallery of Ireland
An etching by Rembrandt van Rijn (1606-1669) – Landscape with Cottages and a Hay Barn (1641) – has been acquired by the National Gallery of Ireland and is the first work on paper by Rembrandt to enter the national collection. The gallery is celebrating its 170th anniversary by announcing recent acquisitions, free tours and releasing free tickets to ‘Women Impressionists’ for Culture Night 2024. Hughie O’Donoghue’s monumental Original Sins (2022), commissioned under the Decade of Centenaries Programme, has been acquired as a heritage gift under Section 1003. A vibrant oil on canvas by Dairine Vanston, On Huband Bridge, Dublin (1974), records a Dublin landmark just a few minutes’ walk from Vanston’s home and studio on Mount Street Crescent, but suggests more tropical climes.
A new strategic plan for 2024-2028 includes a range of priorities which will build on the Gallery’s existing work and help it evolve to best serve its collections and audiences, in the future. Four new priorities have been identified: Developing and caring for our living collections for public benefit; a National Gallery for all; excellence in Corporate Services and Strategic Partnerships to grow national and international partnerships and income streams across the public and private sectors.
Hughie O’Donoghue (b1953) – Original Sins series in the Shaw Room of the National Gallery. Photo courtesy National Gallery of Ireland.
Mary Cassatt – Child in a Straw Hat, c.1886. Courtesy National Gallery of Art, Washington.
Women Impressionists, a special exhibition marking the first impressionist exhibition in 1874, is at the National Gallery of Ireland from June 27 to October 6. Women Impressionists will include around 60 fascinating works drawn from collections worldwide. It focusses on on four women artists who were integral to Impressionism – Berthe Morisot (1841-1895), Eva Gonzalès (1849-1883), Marie Bracquemond (1860-1914), and Mary Cassatt (1844-1926). All but Eva Gonzales exhibited at Impressionist exhibitions (of which there were eight over the following 12 years).
Impressionist artists are renowned for using friends and family members as models. This is especially so for women Impressionists, who had relatively restricted access to professional models and social spaces. They often painted scenes from everyday life in the quiet intimacy of their homes and gardens. These artists did not only look inwards but they travelled widely, they looked to contemporary art and to art history; they were engaged in the artworld and made visits to studios, exhibitions, and galleries.
Women Impressionists explores how each of these artists navigated complex personal and professional networks to create and exhibit their art. It highlights their collective desire to make modern art and shows how they interpreted the evolving idea of Impressionism in individual ways.
Highlights include an exceptional portrayal of an intimate domestic scene, The Artist’s Daughter, Julie, with her Nanny, c.1884. by Berthe Morisot (Minneapolis Institute of Art). The painting shows the artist’s daughter Julie watching her nanny sewing. Marie Bracquemond’s painting Le Goûter, c.1880 (Musée du Petit Palais)is set on the terrace of the Villa Brancas, the artist’s home in Sèvres. Mary Cassatt was one of the most original painters of women and children in the 19th-century. Her painting Susan Comforting the Baby, c.1881 (Columbus Museum of Art) shows a young woman soothing one of the artist’s infant nieces or nephews. In keeping with her Impressionism, Cassatt has left areas of canvas unpainted, and others sketched in with loose visible brushstrokes.
Dr Caroline Campbell, Director of the National Gallery of Ireland, said: “In an anniversary year for the National Gallery of Ireland, as we celebrate our 160th birthday, it is very exciting to mark another important anniversary in the history of art by bringing this exhibition to Ireland. 150 years on from the first Impressionist exhibition in Paris, we look forward to opening our doors to visitors from Ireland and abroad to discover works by these four women artists. The works in our permanent collection by Berthe Morisot and Eva Gonzalès are firm favourites of our audiences so we hope that this exhibition will delight and intrigue throughout the summer.”
The exhibition was devised by Ordrupgaard, Denmark, where it was on display from February 9 to May 20, 2024.
Berthe Morisot – The Artist’s Daughter, Julie, with her Nanny, c. 1884 Minneapolis Institute of Art, The John R. Van Derlip Fund. Courtesy Minneapolis Institute of Art. Licenced under CC BY 4.0
Johannes Vermeer, (1632–1675) – Mistress and Maid, ca. 1666?67. The Frick Collection, New York, photo: Joseph Coscia Jr.
Vermeer Visits at the National Gallery of Ireland from May 11-August 18 will reunite Mistress and Maid from the Frick with the gallery’s own Vermeer, Woman Writing a Letter with her Maid. While The Frick Collection’s New York residence is currently undergoing a renovation, Mistress and Maid makes an exceptional trip to Dublin, marking only the second time it has left New York since its acquisition in 1919. Before the paintings were on display at the Rijksmuseum’s Vermeer exhibition in 2023, they were last united at the auction of French copper industrialist Eugène Secrétan in Paris in 1889. The painting rarely travels outside its home in New York under the conditions of its bequest.
Mistress and Maid is unusual in Vermeer’s oeuvre in that the composition focuses almost exclusively on the interaction between the figures – the mistress pausing her writing in surprise at the arrival of a letter brought by a maid. The painting is exceptionally large in comparison to Vermeer’s other genre scenes, measuring over a metre in height.
Johannes Vermeer, (1632–1675) – Woman Writing a Letter, with her Maid, c.1670. Presented, Sir Alfred and Lady Beit, 1987 (Beit Collection). Image, National Gallery of Ireland.
