Michael Cullen’s Studio Scene with Still Life and Irises, an oil on linen, 45cm x 50cm painting at Taylor Galleries

Wicklow artist’s vibrant still life displays a keen appreciation of the daily studio routine – and much else

Screenprint by Frea Buckler from the Graphic Studio Gallery Summer Show Robert Ryan, Guardian, 2019. Limerick City Gallery of Art

Scottish colourists, crises of our times and allegorical landscape paintings

Fisherman of Valencia (Pescador de Valencia), 1904. Oil on canvas, Private Collection. Photograph: Laura Cohen.National Gallery of Ireland

An exhibition at the National Gallery aims to revive the Spanish painter’s reputation

Nestor juxtaposes imagery from Monte Cassino in the 1940s with photographs from today

Aidan Dunne: Steven Nestor’s photo book on the Italian battle site, then and now

Untitled (barrier), mixed media, and Shelf, mixed media, both 2019, installation view of Niamh O’Malley’s exhibition at St Carthage Hall, Lismore, Co Waterford. Photograph: Ros Kavanagh

Mayo artist’s work prompts us to consider the nuts and bolts – and limits – of perception

The Ó Raghallaigh family. From Kate Nolan’s portraits of musicians taking part in Fleadh Cheoil na hÉireann 2018. At Droichead Arts Centre, Drogheda, Co Louth

A range of works to explore in Louth, Roscommon, Cork, Dublin and Belfast

Pilvi Takala The Stroker (still), 2018, 14:26 minutes, two-channel video installation. Courtesy Helsinki Contemporary, Stigter van Doesburg, Amsterdam and Carlos/Ishikawa, London.

This Finnish artist’s performance films interrogate codes and rules of social interactions

Detail of Sean Scully, Inisheer, 1996, oil on linen, 91.5 x 91.5cm, 36 x 36 ins (courtesy Kerlin Gallery)

Best known as a painter of stripes Scully’s stark painting vividly evokes a rugged island

Cork Printmakers Popup, The Project Twins, Risograph Print 1, Triskel

Including Eilish McCann in Cavan, Cork Printmakers Pop-up and Fenderesky show

Amy Cutler: Above the Fjord (2010), at the Butler Gallery in Kilkenny

The American’s art, on show in Kilkenny, evokes the rules that confine women’s lives

nagOffsite Rathfarnham Castle, installation view, work by Roseanna Lynch and items from John Hutchinson’s collection. Photograph: Mark St John Ellis

Over three exhibitions, nag’s Mark St John Ellis weaves together East and West, painting and ceramics. The results are nothing les(...)

Wilhelmina Weber Furlong, Still life, New York c1915-1921

After nearly a century of neglect, her work is on show in a new exhibition in Dublin

Eva Rothschild with her sculpture Amphi (resin, fibreglass, wood, spray paint, dimensions variable), 2019 Photograph: Robert Glowacki

Ireland’s show at the Venice Biennale reflects an uneasy world

‘View of the Sea’, oil on board, 24.5 x 41 cm, 2018, Ann Quinn, Custom House Gallery, Westport

Ann Quinn paintings, The Stroker, Flux in Flow

‘Between water and clouds’, woodcut by Jelena Sredanovic

Galway International Arts Festival 2019 largely overcomes issues with venues

Bauhaus beauty: Natalia Goncharova’s Female Half Figure, Paul Klee’s The Saint of Inner Light and Oskar Schlemmer’s Concentric Group. Photographs: courtesy of Staatsgalerie Stuttgart

National Gallery show features prints from the 20th century’s most innovative art school

Detail from Man is in love and loves what vanishes, by Veronica Bolay

Painter considers WB Yeats’s dim view of the state of the world 100 years on

Mary Conroy, Metatron’s Cube, Signal Arts Centre

Kaye Maahs, the Biophilia hypothesis and sculpture as a response to Brexit

Nadim Asfar, Leporello. PhotoIreland 2019

Visual art reviews: Transcendence in Mayo from David Quinn and pop-up museum of photography

An image from ‘Labourers’ Cottages of County Wexford’, at the Irish Architectural Archive

A collection of labourers’ cottages in Co Wexford is among the other highlights

A Mummer’s Banquet (detail), painted aluminium panel, by John Kindness

Kindness excavates the history of hospitality at Hillsborough Castle

Valérie Blass, The Mime, the Model and the Dupe,  Installation view. Photograph:  Louis Haugh

Brian Bourke on repeat and an expressly theatrical Jay Murphy

Joseph Patrick Haverty’s The Blind Piper:  Reproduced as a print as The Limerick Piper, it sold widely and became well-known.

A painting of Clare piper Pádraig Ó Briain was hugely popular in 19th-century Ireland

nagOffsite at Rathfarnham Castle. Photograph:  Kristina Huxley

Explore Irish diaspora connections in the Caribbean and nag’s latest work in Dublin

Girl with Roses by Lucian Freud  and Portrait Figure of an Irish Gentleman by Jack B Yeats. Photographs: British Council, London, UK / © The Lucian Freud Archive / Bridgeman Images; © Estate of Jack B. Yeats, DACS London / IVARO Dublin, 2019

An exhibition pairing work by Lucian Freud and Jack B Yeats is a triumph

Farmers saving the hay, near Burrishoole, Co Mayo, 1943. Photograph by Helen Hooker O’Malley (1905-1993)

Helen Hooker O’Malley photographed medieval and ancient sites and structures

Detail from Siobhán Hapaska’s Snake and Apple (2018) (aluminium, artificial snakeskin, fibreglass, stainless steel, two-pack acrylic paint, lacquer). Photograph: Courtesy Kerlin Gallery

Sculpture reflects a world of discord and uncertainty

Anita Groener, The Past is a Foreign Country, installation view, The Lab. Photograph: Louis Haugh

An austere, biting and effective response to the experience of war, forced migration, refugee camps caused by the war in Syria

George Voronov, And Also with You

Marking its 10th anniversary PhotoIreland Festival opens a pop-up museum in Dublin

People and a Frank Stella (detail), 18-panel mural by Robert Ballagh, early 1970s

An epic early commission by Robert Ballagh is given a new lease of life in Clonmel

Thai Buddhist Tales: part of manuscript 1318, Chester Beatty Collection

The Chester Beatty Library gives a glimpse into a world surprisingly close to our own

Elizabeth Magill, Sinead O, 2011. Mixed media on paper. Photograph: Courtesy of the  Kerlin gallery

Aidan Dunne: New exhibition raises question – can drawing survive in a digital age?

Carbon Sync), 200 X 170 X 50cms, Graphite over elm by  Michael Quane.

The swimmer is kept afloat by the environment humanity is in the process of destroying

Put Yourself in the Picture, The Ark portrait project in Dublin Castle

Art inspired by Ulysses, the Burren annual and the search for perfection

Laura Holmes’ Uprooted

This year’s graduates are in the thick of it, and wouldn’t have it any other way

Y6.19 (2019) by Charles Tyrrell

Tyrrell’s body of work is in a sense an autobiography, a record of day-by-day activity

The group exhibition brings together four individual artistic practices that engage with space, interiors and sites using distinct voices and methodologies. Photograph: Kasia Kaminska

TS Eliot’s Waste Land manuscript becomes a starting point for Miranda Blennerhassett, Aleana Egan, Andreas Kindler von Knoblock an(...)

Natalia Black, Northern Lights (2019), Acrylic on Board (detail), from Musica Universales at Green on Red Gallery

Oikeiôsis means ‘coming into one’s own’, and these artists have certainly come into their own

Portrait of Violet Stockley with Rabbit (oil on canvas, c1900) by Walter Frederick Osborne. Private collection, courtesy of the Gorry Gallery

Osborne’s painting of his niece demonstrates his understated though impressive skills

Jeanette Lowe’s Skip Sculpture: on display at Royal Hibernian Academy, 15 Ely Place, until August 10th.

Academy’s 189th outing displays implicit awareness of issues such as housing

Land Sequence Burren, Anne Madden, 1964. Collective View, Boyle.

Aidan Dunne: Arts Council and Civic Art Collection join forces for an exhibition in Boyle

The Past is a Foreign Country (2018) by Anita Groener, installed in The Dock, Carrick-on-Shannon

Groener focuses on the trauma inflicted by strife and migration in the recent past

A Huawei store in Shenzhen, China. Photograph: Qilai Shen/Bloomberg

Move is first major funding test since US curbs on suppliers

Detail from Lamont Cranston (2018) by Larry Poons

The master of American modern painting and sculptor have little in common, except spirit

Treecurtin by David Crone. Courtesy of the artist

From Troubles Belfast to his back garden, David Crone finds riches in his environment

Alan Butler, Death Valley (2018), Lightfast pigment ink on 100% archival cotton-rag paper cold-mounted onto di-bond. 230 x 125cms (detail)

Two shows look at how touchscreens and data overload are rebooting our minds

Margaret Corcoran revisits the National Gallery of Ireland nearly 20 years on from her ground-breaking exhibition An Enquiry

Anne Korff, In Memory of the Last Gardener in Aleppo. Burren College of Art

Anne Korff’s paintings vividly reflect her experience of the refugee crisis

Class Picture VII, oil pastel (2018), Mercedes Helnwein. Photograph: Molesworth Gallery Dublin

Artist’s unsettling work delves into iconography of American childhood and adolescence

Eva Rothschild with Amphi, 2019, resin, fibreglass, wood, spray paint. Dimensions variable. Photograph: Robert Glowacki

Dubliner Eva Rothschild, Ireland’s representative at the Venice Biennale, uses industrial materials to create a compelling sculptu(...)

Doris Salcedo, Plegaria Muda, 2008–2010, Wood, mineral compound, cement and grass (28 units), Dimensions variable, Courtesy of the artist and White Cube Gallery, London. Installation view Doris Salcedo, Acts of Mourning, IMMA, Dublin, 2019. Photograph: Ros Kavanagh

Her home country’s politics underpin the Colombian artist’s art of absence

Tree, by Joe Hanly, during the process of installation in the Highlanes Gallery, Drogheda

Hanly evokes a hyper-connected, troubled world through the symbol of an eternal tree

Mark Dion, Sea Life, 2011. Wooden furniture, plastic objects and jars. Courtesy of the artist and In Situ, Fabienne Leclerc, Paris. Photograph: Rory Conaty

Aidan Dunne: Mark Dion’s cabinets of curiosities hark back to an era of collecting

A new show at the National Gallery of Ireland explores our relationship with the land

Doris Salcedo, Tabula Rasa IV, 2018

In Acts of Mourning, Doris Salcedo looks at violence through everyday domestic objects

Jobst Graeve by Michael O’Dea

A meeting between a painter and an art collector produced an unusual portrait

Sonia Shiel, Never Quieter. Photograph: Gillian Buckely

Works showcase Shiel’s easy facility, while Mooney embraces the challenge of plein air

Artist’s unsettling installations underline the implicit strangeness of everyday encounters with objects, places and materials

David Fox, The container, oil on canvas, Olivier Cornet Gallery

OK: Hannah Fitz creates a sculptural landscape inhabited by footballers

A Bird Never Flew on One Wing by Harry Kernoff

New exhibition features rarely seen works by Ireland’s pioneering modernists

Dave West’s Post Office is part of the Diamonds and Rust exhibition at The Doorway Gallery in Dublin.

Derry gets a visit from the works of Dave West and Dublin sees Gabhann Dunne’s

Composition (circa 1922) by Mainie Jellett

A superb early cubist work by a pioneer of modernism in Ireland

Stephen Lawlor, Red Dragon, SO Fine Art Editions.

Jonathan Hunter and Stephen Lawlor’s exhibitions play with our sense of time

Drawing from Poulaphouca No 3 by Sam Reveles

The Texan has likened his accretive process to the growth of lichen or fungus

Close Encounters in Venice

Plus: Venice Biennale works on iconic 20th-century buildings, and Ben Reilly

Marcel Vidal, White Noise, 2018, RHA Futures

Two ceramicists and two visual artists announced as winners of annual prize

Night Crossing (oil on canvas) by Ian Wieczorek. Image courtesy of the artist

Ian Wieczorek’s paintings address a world of mass surveillance and forced migration

‘In the guesthouse of my mind’ by Bernadette Kiely

Dreamy landscapes and reimaginings of historical pieces are among the highlights

Anthony Haughey, Ihuaku at Taylor’s Folly on the Louth-Armagh border © Anthony Haughey

Field Notes from the Border #1 sees three photographic artists share perspectives

Mary Swanzy, ‘Portrait of Gertrude Jekyll’, private collection

See meditations on environmental catastrophe or relics from raving in Dublin

The Drenched Forest, 2018 (oil and acrylic on canvas, 120x120cm), Cecilia Danell. Image courtesy the artist.

All is not what it seems in Galway-based Swedish painter’s forested landscapes

Stephen McKenna: he quickly recast, or perhaps learned to interpret, abstraction as a pictorial means of making models of the world.

A Painter’s Life exhibition offers insight into artist whose life was process of inquiry

A Dream of Rising Matter by Liliane Tomasko

Exhibitions by Tomasko and Michael Coleman challenge preconceptions

From Made Ground, Green on Red Gallery

Plus work by Wieczorek, Colman, Sullivan, O’Donoghue, Haughey, Nolan and Newman

i Series 07 by Eamonn Doyle

Doyle has been called the saviour of street photography, and it’s not hard to see why

Estella Frances Solomons, City Quay, Dublin, etching. Courtesy the estate of Estella Solomons/board of Trinity College Dublin

Making Their Mark, at the National Gallery of Ireland, casts light on early 20th-century painter-etchers

Away (2019) by Patricia Burns

Burns’s preoccupation is a certain ambivalence about suburban, in-between space

Ulysses Bolted (2019). Photograph: Marie Hanlon

Marie Hanlon’s sculptural installations engage with books in their natural habitat

Maro Itoje during an England training session. Photograph: David Rogers/Getty Images

Robshaw won the last of his 66 caps during the 2018 summer tour to South Africa

‘It’s All About Books’, Marie Hanlon’s exhibition at  Cregan Library DCU

One Here Now final instalment features work by Brian O’Doherty and alternate persona Patrick Ireland

Two Figures on a Boat by John Lavery. Photograph: National Gallery of Ireland

A great society painter’s solo voyage into etching

From ‘Twelve by Twelve by Two’, Ronan McCrea, Temple Bar Gallery

Ronan McCrea checks his credit at the image bank; Graphic Studio marks 30 years

James McCreary’s work  was among the first  to be sent to clients from  Behaviour & Attitudes and Graphic Studio.

Aidan Dunne: 18 artists explore the words we cannot say in Letterbomb at Synge St

Robert Armstrong, ‘Kiribat’

‘Squeegee Paintings’, the new exhibition by the former head of painting at NCAD, is all about what's left out

Detail from Landline Gray (2015) by Sean Scully (see full work below). Collection of the Hugh Lane Gallery, Dublin, copyright the artist

Sean Scully’s Landline paintings link minimalism to northern European romanticism

View of eastern side of the Umayyad Mosque, Damascus (715 CE). Photograph: Stephennie Mulder

Stephennie Mulder aims to expand the usual ‘European story’ and outlook on art history

Rome Wasn’t Built in a Day (detail) by Fergus FitzGerald

Fergus FitzGerald, Martin Redmond, Robert Armstrong, Siobhan McDonald, Stephen McKenna

Points of view in Waiting for Godot: the Gate Theatre Production, (Colour photograph, 2002-2003) Gerard Byrne. Image courtesy of AIB Collection

Byrne’s image of the Gate production reflects his interest in cultural representations

The Streets, Our Brushes, Marielle Mac Leman at the LAB Gallery. Photograph: Peter Varga

Ingenious work by artist Marielle MacLeman delves one of the oldest areas of Dublin

Människans Form, Nicholas Benedict Robinson

Also: ‘Crossing Permissions’ by Sinéad O’Donnell; ‘Armed Men’ by Mick O’Dea

 The skull sectioned, a pen and ink drawing with traces of black chalk by Leonardo da Vinci. Photograph: Royal Collection Trust

Da Vinci is known for a handful of iconic works but drawing was utterly central to everything he did

Brian Eno: The long form has a place in contemporary culture. Image courtesy of the artist and Lumen, London

The ‘Renaissance man’ on his Irish connections and his ‘deliberately slow’ epic artwork 77 Million Paintings at the RHA in Dublin

Art in Focus: from Mark Francis’s White Light (Dual Dimension). Courtesy of the artist and Kerlin Gallery, Dublin

Mark Francis fixes his interest on the world beyond the limits of conventional vision

Detail from Leah Beggs, Should Have Gone With You, at the  Solomon Gallery

Light, mist and wonder from Leah Beggs and a group of four artists explore creativity through chance in Some Concrete Possibilites

Portrait of Miss Muriel Swanzy, 1907. Private Collection, courtesy Mary Swanzy Estate

The Dublin-born artist remains something of an enigma in both her life and her art

Endlessly changing: one configuration of  77 Million Paintings, by Brian Eno

Brian Eno’s music and image installation has been endlessly reinventing itself since 2006

The Venetian by Sven Sandberg, at Berlin Opticians Gallery

Sven Sandberg, Amanda Doran, Andrew Simpson, Leah Beggs and Ruth O'Donnell

Jumana Manna, Wild Relatives (2018) installation view. Courtesy of the artist and the Douglas Hyde Gallery, 2019. Photograph: Louis Haugh

Seeds, plants, people and geopolitics intersect in Jumana Manna’s film ‘Wild Relatives’

 Gerry Davis’s 'Wedding Car' makes sense in that every element is easily legible, visually, but it is also a little odd

The Limerick-based artist re-imagines his own wedding with a magic realist twist

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