A detail from Salvator Mundi, an ethereal portrait of Jesus Christ which dates to about 1500, and is said to be the last privately owned Leonardo da Vinci painting. Photograph: Courtesy of Christie’s New York

It might have cost half a billion dollars but there are still doubts as to the veracity of the record-breaking painting

Abbas Akhavan’s Fountain at the Douglas Hyde Gallery. Photograph: Denis Mortell

Visual art review: Abbas Akhavan’s show looks half made before it reveals its mysteries

'The Mothers', by Käthe Kollwitz

Art in focus: the great pacifist German artist’s woodcuts depict the bereaved: mothers, parents, widows

Saffa Khan’s work as part of Radical Love # Female Lust

Theresa Nanigian: Master of My Universe, Radical Love # Female Lust, Where History Begins, Another Bite of the Cherry, and Tronies

The Liquid Sheep feat. Peninsula Extras by Kaspar Oppen Samuelsen and Marie-Louise Vittrup

Art inspired by the contentious Atlantis primal scream commune in Donegal

Lucian Freud, Bella and Esther, 1988, oil on canvas, 73.7 x 88.9 cm

Art in focus: The great realist’s work is on show in IMMA’s Freud Project

Bare Root, Michael Canning, Something to do with Exile, 2011-14, acrylic, oil & wax on linen, 120 x 183cm

Great opportunity to see representative selections of work from most Irish galleries at the VUE National Contemporary Art Fair at (...)

 Eve O’Callaghan’s work

Kevin O’Kelly chosen as this year’s winner of the prestigious Taylor Art Award for his BA work ‘Something About the Way You Look’

Kathleen (2014) by Susan MacWilliam

Susan MacWilliam delves into what might be called paranormal subculture and her 33-minute Kathleen has echoes Alfred Hitchcock and(...)

For the Love of Art: Dreams, by Frederic William Burton. Photograph courtesy of Yale Center for British Art, Paul Mellon Fund.

Frederic William Burton disappeared from the cultural radar within a few years of his death

Winged Figure, 1970-1975, oil on canvas,

The William Crozier exhibitions at IMMA and Taylor Galleries

Hellelil and Hildebrand, the Meeting on the Turret Stairs (1864) by  Frederic William Burton Photograph: courtesy  National Gallery of Ireland

The painter of ‘Hellelil and Hildebrand, the Meeting on the Turret Stairs’ hated the smell of paint

Orla Barry gets woolly in Breaking Rainbows at Wexford Arts Centre

Worried about nuclear apocalypse and a hard Border? Orla Barry will wrap you in wool

John Noel Smith: ‘Moving Lines I, 2017’, oil on canvas, 200 x 240 cm

And in Tableau, Eithne Jordan shows why she needs to paint

Eithne Jordan, Mansion I, oil on canvas (Collection Hugh Lane Gallery)

Carborundum prints and Arctic plant pressings are among this week’s exhibitions

Obscura by Paul Nugent is at the Kevin Kavanagh Gallery

The painter's latest, excellent work is rooted in the psychiatric history of the Pitié-Salpêtrière Hospital in Paris

Artist anticipates the approach of war correspondents and photographers

An image from Kate Nolan’s exhibition Lacuna

Border villages seem to have become playthings in the game of Brexit, but locals have more prosaic concerns, according to artist K(...)

Anne Madden, Lemon on Tree, from Life and Death in the Garden at the Taylor Galleries, Dublin

Wormwood at the Ellis King gallery is worth a shot; as are Anne Madden’s observations of life and death at Taylor Galleries

Anne Maree Barry and Patricia Cronin

Patricia Cronin’s installation ‘Shrine for Girls’ and a new film, ‘Leisure with Dignity’, by Anne Maree Barry

Buse Kanlikilic with her work. Photograph: Marc O’Sullivan

It's a vintage year for master’s graduates in fine art, whose work has a contemporary edge

 For visual artists, one  stand-by for income has traditionally been teaching, whether part-time or full-time

Most artists subsist on extremely low incomes, usually dependent on several sources

Alice O’Conner: monumental use of insulation material

A significant number of graduates show diverse, thoughtful bodies of work that show their knowledge of the history of art

At the National Gallery of Ireland: Lady Writing, by Jan Vermeer, from Vermeer and the Masters of Genre Painting: Inspiration and Rivalry

It's high time the artist was rescued from the Hollywood treatment in the film Girl with a Pearl Earring

Anne Madden: ‘Colours of the Wind’ (2017), from Colours of the Wind: Ariadne’s Thread at the Hugh Lane, Parnell Square, Dublin, until September 10th

Anne Madden: Colours of the Wind - Ariadne’s Thread review: The Greek heroine Ariadne is the starting point for journey into colou(...)

Image of St John from the ‘Book of Dimma’

Four newly restored early Irish illuminated manuscripts go on display today in Trinity College

Two months on the coast oil on canvas, by Una Sealy

Open submission process and 600 artworks guarantee good – and puzzling – surprises

Paul Winstanley, Lost (After Saenredam)

New shows by Paul Winstanley, Don Cronin and Margaret O’Brien reviewed

Stained landscape: a contaminated site near Kimbolton, Cambridgeshire, 2012. Photograph: Dara McGrath

Between Northern Ireland and Scotland, some million tons of munitions lie on the seabed

Self-portrait, 1914, by Margaret Clarke. Copyright the artist’s estate

Margaret Clarke was a key figure in Irish art and a new show illustrates how her portraits deserve greater recognition beyond her (...)

 Stephen McKenna, pictured at the IMMA in 1997 where he was  curating a major exhibition of twentieth century art. Photograph: Moya Nolan

Once asked if he considered himself English, Irish or European, he replied simply: ‘Yes’

Moria Grid by photographer Richard Mosse

Irish artist announced as winner by Kofi Annan for series Heat Maps

 Small Town Portraits. Courtesy of The Dennis Dinneen Archive

Dennis Dinneen, publican, taxi driver and photographer, captured an Ireland that has now largely disappeared

Exhibition view of The Living and the Dead by Mark Swords

The artist has created a world that is more than the sum of its parts

Patrick Pye and Nóirín Pye at the opening of his exhibition at the Jorgensen Gallery, Molesworth Street in 2003. Photograph: Cyril Byrne

Patrick Pye, a religious artist who has fading sight, deemed ineligible for stipend

Hilma af Klint, Altarpiece, No 1, Group X, Series Altarpieces, 1915, oil and metal leaf on canvas. Photograph: Albin Dahlström / Moderna Museet

Exhibition shuffles briskly and entertainingly through more than 100 years of spirituality in art

Tea dancer by Theresa Nanigian.

Theresa Nanigian used to tell clients "think of yourself 10 years hence, and then work backwards”. And eventually she had to heed (...)

Eva International curator Inti Guerrero in Limerick. Photograph: Deirdre Power

Inti Guerrero sees biennials as a more worthwhile medium for art

The Princess, Bhutan 1974 by Margaret Corcoran

Margaret Corcoran shows joyous new paintings at Kevin Kavanagh gallery, while Stephen Lawlor takes on some Venetians

Matt Packer, the new director of EVA International. Photograph: Deirdre Power

Douglas Hyde Gallery also gets a new curator, with Georgina Jackson taking up the post in May

Still from A Numbness in the Mouth, (2016) by Kevin Gaffney

‘Futures’ at RHA showcases idiosyncratic, thought-provoking work in variety of media

Modern Experiments by Susan MacWilliams, an installation view. Photograph: Ros Kavanagh

In her new show, Modern Experiments, Susan MacWilliam explores the paranormal, from people who see with their hands to those who m(...)

Chester Beatty Library’s collection of Japanese Surimono woodblock prints is considered among the finest in the world.

These Japanese prints were often made by groups rather than individual artists, and the result is a stunning attention to detail

Graham Norton and Gareth Reid with the latter’s portrait of the TV presenter and writer

Gareth Reid’s portrait of his distant relative Irish TV presenter Graham Norton is now on view in the National Gallery of Ireland

The artist instils each piece with a wealth of thought in the Wexford Arts Centre

Metamurmuration (detail), 2015-2016, by Joanna Kidney

The things we are drawn to acquire reflect and express our personalities and more: our ideas about ourselves, our aspirations and (...)

What Is An Apparatus? (2016-2017) (Still) by Sean Lynch. Courtesy the artist, Kevin Kavanagh Gallery, Dublin, and Ronchini Gallery, London

The artist asks probing questions about everything from the Burren interpretive centre to the Belfast Titanic Experience

Seán McSweeney and Gerard Smyth. “We found that the places we remembered overlapped in various ways,” says Smyth.  Photograph: Barry Cronin

Gerard Smyth and Seán McSweeney’s ‘The Yellow River’ explores their links to county

From left: “Deepdrippings (We Can’t Make Coffee Like the Continentals Version)”; and “Deepdrippings (Ghetto Anglaise Version)”, by Phillip Allen

Phillip Allen’s doodles grow into densely packed impastos with a curious gravity

The Sofas of LA by Andrew Ward, from Lacuna exhibition in Taylor Galleries

Ronan McCrea found a a set of BBC instructional films for mechanical engineering students and from them made something entirely ne(...)

Hegel Bollard, 2016, by Stephen Brandes. Courtesy of the artist and Oonagh Young Gallery

Brandes’s garden is a compendium of society’s broken dreams and vain hopes

 The Taking of Christ (cropped) by Michelangelo Merisi da Caravaggio, oil on canvas. Photograph: National Gallery of Ireland

Caravaggio was tetchy and combative, quick to take offence and always ready for a fight. That energy pours from the works in a new(...)

Daphne Wright: Stallion

‘Emotional Archaeology’ is rooted in domestic life, but quietly unsettling

Kathlyn O’Brien’s exhibition Altered Light

Kathlyn O’Brien speculates on identity and mortality in ‘Altered Light’, while Michael Beirne creates strange, hallucinatory visio(...)

Yvonne Farrell and Shelly McNamara, of Grafton Architects, at their office in Dublin. Photograph: Dara Mac Dónaill

Yvonne Farrell and Shelley McNamara ‘delighted to be gifted opportunity’, a significant honour and accolade for Grafton, and for I(...)

Barbara Knezevic: Exquisite Tempo Sector

Josef Sudek was known as the poet of Prague and after returning to the city after the first World War, he never left it again

John Berger in 2014: he  lived in a French village for many years  after  the success of the book and TV series  Ways of Seeing in the 1970s. Photograph: Jean Mohr

Photographer Jean Mohr’s long friendship with the late writer and art critic meant he was able to produce images full of biographi(...)

An architectural drawing on display in the House and Home exhibition

Exhibition House and Home is a necessary resource for those interested in current issues

Love (2016) by Siobhán Hapaska.
Excavating old ideas

Two shows sum up a difficult year

At a preview of the IMMA Collection; Freud Project 2016-2021 which will open to the public on Friday 21st October, at the Royal Hospital Kilmainham, Dublin. Photograph: Dara Mac Dónaill / The Irish Times

Culture review 2016: The 1916 Commemorations featured a welcome alternative historical narrative

The view form the floor: Corban Walker’s installation at the Lab. Photograph: Peter Varga

As the centenary draws to an end, now is a good time to visit the Pearse Museum

Duncan Campbell in front of  his film  Sigmar: “If you went into a small village in the 1960s and started asking people questions about their sex lives you weren’t going to get much of an answer.” Photograph: Daniel Leal-Olivas/PA Wire

Shining a light on recent history and exploding reductionism from a backroom

Untitled Gauze Painting by Kohei Nakata

A 20-year survey in one compact exhibition

Summit by Robert Armstrong, and Hem by Anna Bjerger at Slips and Glimpses, Kevin Kavanagh Gallery, Chancery Lane, Dublin

New work from Robert Armstrong, Anna Bjerger and Kathy Prendergast

 Gerry Davis (left), the 2016 Hennessy Portrait Prize winner,  with sitter Sean Guinan. Photo: Anthony Woods

Limerick graduate takes top prize and for the first time two others are highly commended

Figures at Night (Diptych),  1988, by David Crone. Photograph: Christopher Barr, courtesy of Crone, Ulster University

A retrospective of one of Ireland’s best living painters shows he is still innovating

Charles Tyrrell at the Taylor Galleries: he has embraced the  inherent nature of aluminium

Amorphous shapes and passages dominate, while Felim Egan tests new waters

Joggers by Michael Kane

Reading, writing and publishing have been significant areas of endeavour, not distinct from printmaking and painting, but all face(...)

John Behan’s “The Bull of Easter II”: “an ingenious amalgam of biology and technology”

Review: John Behan at the Solomon and Marion McKeever at the Assembly House

Edgy: work by John Coyle and Gary Coyle in Now Came Still Evening On at the Dock, Carrick-on-Shannon

John and Gary Coyle share hints of discord; John Butler Yeats demands close viewing

Piece by Anita Groener in Facebook’s Dublin office. Photograph: Ros Kavanagh

Dublin HQ of the social media giant is a hotbed of artistic activity and dynamism

Johanne Mullan, collections programmer at Imma, with Lucian Freud’s  “The Painter’s Mother Resting” at a preview of the Freud Project 2016-2021. Photograph: Dara Mac Dónaill/The Irish Times

The 50 pieces in Freud Project are invaluable opportunity to assess British painter’s work

Hong Ling: A Peak of Reds

Huangshan region and landscape informs Hong Ling’s work

Blue Drift 5, by Graham Crowley

Artists’s response to ‘The Hay Wain’ is not nostalgia but modernity. Plus Stephen Loughman is inspired by WI postcards and Brian F(...)

A still from Jaki Irvine’s video and sound installation If the Ground Should Open . . . which will be in the Imma in December

Installation focuses on women of Rising and corporate Ireland greed 100 years later

‘The Baptism of the King of Cashel by St Patrick’ by James Barry.

A new exhibition at the National Gallery shows Ireland’s history in 55 paintings, and reveals a few secrets if you look carefully

‘Crystal Chandelier’’, by Stephanie Rowe, at the Oliver Sears Gallery in London.

Mother’s Tankstation and the Oliver Sears Gallery have designs on the international art fairs

Paul Gregg’s  Amorphous, 2006, plastic and helium: at the RHA Gallagher Gallery

Vanessa Donoso López and Paul Gregg offer intriguing and conceptual artistic visions

Detail from Lacken Series: Cowslips, 2016 by Patrick Graham

Two Irish artists impress in iconoclastic paintings and a 1916-related video installation

David Hockney’s primary insinct seems always to be to produce work: ‘Self portrait’ 1954, collage on newsprint; ‘Margaret Hockney’ 2008, inkjet printed computer drawing on paper

MAC exhibition, a first for Ireland, is a fine collection with a focus on drawing

Detail from Mary (2014) by Alec Soth. Courtesy of the artist

Photographer Alec Soth, who was a painfully shy teenager, has gone on to produce one of the most socially engaged bodies of work i(...)

Coast Scene with Europa and the Bull (1634) by Claude Lorrain. Copyright National Gallery of Ireland

You are unlikely to see so much of this collection again, so make a point of visiting. Plus: a new show by painter Ian Cumberland (...)

Untitled by Paul Doran (2016)

Plus: Finnish women let us into their lives with humour

Triptych from The Viewing of Six New Works by Michael Snow.  Copyright Michael Snow. Courtesy the artist, Jack Shainman Gallery and Butler Gallery. Photograph: Roland Paschoff

The Canadian artist sets his sights on Kilkenny; and Damien Flood is like a Miró in Dún Laoghaire

Frontier (2016) by Michael John Whelan

Artist Michael John Whelan is continuously drawn to the world’s most northerly settlement of more than 1,000 people

Not to be Known by Aideen Barry

In Aideen Barry’s work divisions between human, animal, automaton and mechanical devices blur

From left, Apartments Aleppo (2016); and Over Our Heads the Hollow Seas Closed Up (2016), both by Brian Maguire; and The Aquarius Monument by Alex de Roeck from Small . . . Far Away. Maguire images courtesy the artist and Kerlin Gallery

Brian Maguire’s paintings try to address the experiences of society’s outsiders

Detail from It Takes a Village by Una Sealy

Una Sealy couldn’t wait to escape Howth. What went wrong?

The Woolworths Choir of 1979 (2012)

The Turner Prize winner describes the moment 10 years ago when her pioneering video art took a new, fascinating turn

From left: Spectres of Modernity by Ruth McHugh, a work by Giancarlo Marcali from Foreign Bodies; a piece by Sue Kneebone from Border Crossings

Vulnerable bodies and the dispossessed also feature in three Galway International Arts Festival highlights

 Hughie O’Donoghue: ‘If you want to get at all close to a true version of events, you have to make room for the inconvenient bits as well.’ Photograph: Alan Betson / The Irish Times

The artist’s new exhibition explores the personal and political, ‘the complex, detailed, contingencies of people’s lives’

Gordana by Dragana Jurisic

Photographer Dragana Jurisic picked up a camera after her father's entire archive was destroyed. And that's not the only mystery i(...)

In Life (i) (2016) by Caoimhe Kilfeather

Things resonate in Caoimhe Kilfeather’s work but usually confound your expectations

Town, Country, People (1985-86) by Locky Morris

A group exhibition curated by Janet Mullarney is accessible, unpredictable and rewarding

Work by Jane Rainey

Bumper year with third- and fourth-year graduates’ marathon exhibitions

View of Ryou-Un Maru by Brian Duggan at Project Arts Centre. Photograph: Ros Kavanagh

Brian Duggan has made a fishing boat thought lost in the 2011 tsunamis the centre of his exhibition at Project

A still from Our Kind by Alan Phelan

Separate exhibitions highlight the complexities and ambiguities of Casement and explore the many identities that have been thrust (...)

Paper Bloom by Katie Moore

Katie Moore’s Ballina residency commemorating 1916 is exceptionally effective

More articles