Installation view of Seasons End: More Than Suitcases by Tamara Henderson. Photograph: Denis Mortell

Tamara Henderson’s evolving show goes big; and Bassam Al Sabah merges his own family into a fictional wallpaper

Guercino (1591-1666), Jacob Blessing the Sons of Joseph, c.1620, oil on canvas. Photo © National Gallery of Ireland

More than any other individual, he was responsible for rehabilitating the reputation of 17th-century Italian Baroque painting

Diarmuid Breen, We three sit and toil (watercolour, 2016) from Existing Realities

Siobhán McDonald evokes natural change; the Science Gallery looks at the nature of fakery

Cecilia Moore, Wah Wah in silver with Big Blue Wah Wah, 2017

Ursula Burke, Paul Hallahan and Cecelia Moore will share €30,000 prize

Seán O’Rourke diptych from the Hermione Exhibition.

Irrational Exuberance by Elva Mulchrone, Hermione Exhibition, and Nocturne by Adam Pomeroy

Untitled, from the series ‘Farewell My Lovely’ by Maria Przybylska

Post impressionist landscapes, photography’s relationship with time, etherial children and elementally engaging with landscape

View of Cork from Audley Place, John Butts, 1750. Photograph: Crawford Art Gallery, Cork

Butts produced many paintings of the Cork countryside, but died penniless in Dublin

Installation view of Prosceniumby Helena Gorey. Left to right, Seed, Mountain, Mist

To opt, as Gorey does, for monochrome compositions is brave. Is she looking for trouble?

Nest week, the Chester Beatty Library puts on display one of the greatest art works from the 15th century

‘My Own Unknown’ reflects Dragana Jurišic’s restless ambition and her continuing development as an artist

Jurišic sets out to do something unusual, to make a primarily photographic work that hinges on photographs not taken by her

Sile Kelly, ‘House in Ballycotton’, acrylic (Lavit Gallery)

Suggestions of Japan; Cork Arts Society exhibition; exploring ‘life and death, religion and ritual, pain and sorrow’; existing in (...)

Detail from Furious Day by Louise Neiland at the  Taylor Gallery, Dublin

Louise Neiland at the Taylor Galleries and Paul McKinley at Kevin Kavanagh Gallery

Island King: Hughie O’Donoghue’s print is included in Graphic Studio Gallery’s outstanding exhibition True Grit

This carborundum print was inspired by the story of the Inishkea islands, off Co Mayo

Michael Canning, Cusp, Etching and Carborundum, Graphic Studio Gallery

Louise Neiland’s impeccable paintings – Diverse painter-printmakers – Snagged plastic bags – Myriad Englishes – Artists at various(...)

Christa Englebrecht in Pharmakon, by Lucy Beech

Lucy Beech’s short film Pharmakon is a highlight of Ex-Voto: the Body + the Institution in Galway

Elysian Fields, Paul McKinley, Kevin Kavanagh Gallery

Even President Putin couldn’t fault Andrei Molodkin’s decapitated head of the Statue of Liberty titled ‘Failed Utopia’

Donald Teskey, ‘Valley walk II, 2017’, Acrylic on paper 56x77cm, Oliver Sears Gallery

This river landscape is a story of light and shade and a creek’s shimmering, mobile glint

Sam Keogh, Kapton Cadaverine, 2017-2018, installation view

Review: Sam Keogh's Kapton Cadaverine has sci-fi nods to Alien and Solaris

Boxes of Air: Sean Scully’s sculpture at Château La Coste in 2015. Photograph courtesy of the Kerlin Gallery

The monumental sculpture shows the Irish artist’s capacity for big thinking

Jane O’Malley, ‘Christmas Eve, 1989’

Review: A rare thing – a retrospective devoted entirely to drawing

The National Gallery’s exhibition offers a rare opportunity to see the largest exhibition of the artist’s work ever shown in Irela(...)

Dennis McNulty: Ttopology at Visual Carlow

Ttopology at Visual Carlow; Sustainable Futures at Sirius Arts Centre, Zoología Fantástica at Solstice Arts Centre, and Donald Tes(...)

To take photographs in a virtual space, Butler exploits a smartphone camera facility within the game. Image: Alan Butler, Down and Out in Los Santos

This online project makes art out of a Grand Theft Auto video game

Niall de Buitléar, Looming, 2017

Niall de Buitléar’s paintings and sculptures start with a basic geometric motif, the circle – while Margo Dolan, Peter Maxwell and(...)

Brian Maguire – Aleppo 4, 2017, acrylic on linen, 200x400cm. Photograph: Guy Hassert/Courtesy of the artist and Fergus McCaffrey Gallery

Sam Keogh awakes from a long sleep in space while Brian Maguire depicts the devastation in Aleppo

‘Flooded’, oil on canvas, by Bernadette Kiely, 70x100cms, 2017

Art in Focus: Bernadette Kiely’s ‘Flooded’ considers what lies beneath

While he may not be well known for the optimism of his work, there is usually a redemptive core to Maguire’s projects.

The Aleppo Paintings: dismay at scale and intensity of the destruction, of place and people

The Upper Class at Bay by Grayson Perry, from The Vanity of Small Differences

Grayson Perry is an unlikely pillar of the establishment, but he wears that label as lightly as he wears his dresses

Grason Perry’s The Agony in the Car Park from The Vanity of Small Differences at the RHA, Dublin

Encounters between the human and institutional, plus a history of Dublin in nine maps

Art in Focus: Painting of a Hindu woman with a covered cup,from about 1640, is extremly unusual

Stephanie Deady: Aughrim House VII

Visual Art: Stephanie Deady’s paintings of sparse interiors provide a blank canvas for ideas

Eric Massheder. Leeds, 1975. and Ready Mixed Concrete, Leeds, by Peter Mitchell

Ordinary city scenes caught on a space camera and Tony O’Malley residency artist Stephanie Deady’s austere look at home living

Elizabeth Magill, Headland (1), 2017, oil and screen-print on canvas, 153 x 183.5cm / 60.2 x 72.2in (Courtesy of the artist and the Kerlin Gallery)

Art in focus: Elizabeth Magill, Headland (1)

Sweeping views: Shannon, lithograph, 2009 by Dietrich Blodau

Retrospective of the German artist’s work is at the Hunt Museum in Limerick

Issue 5+6 of Aspen magazine:  edited and designed by Brian O’Doherty in 1967, it challenged the idea of magazines and art. Photograph: © Aspen Magazine/Authors

Art in Focus: ‘Aspen 5+6’ is an exhibition in a cardboard container rather than a gallery

Installation view of ‘Periodical Review #7’ curated by PPS & RGKSKSRG (Gavin Murphy, Mark Cullen, Rachael Gilbourne & Kate Strain) in Pallas Projects, Dublin. Photograph: Kasia Kaminska

Destruction of Waterford’s R&H Hall building and 60 years of Irish and Japanese fashion

Canadian artist Rodney Graham. Photograph: Paul Sherwood

Vancouver School artist with a culturally vivid show at The Irish Museum of Modern Art

Joseph Mallord William Turner’s (1775-1851) Storm at the Mouth of the Grand Canal, Venice, c. 1840, part of the   Good Morning Mr Turner exhibition at the National  Gallery of Ireland which run from January 1st-31st

Art in focus: Storm at the Mouth of the Grand Canal, Venice by JMW Turner

Detail from Female Nudes with Horse and Viaduct by Mary Swanzy.   Photograph: Courtesy Pyms Gallery, London

A Mary Swanzy exhibition at Imma, a major Emil Nolde collection, a special programme of events to commemorate Alfred Chester Beatt(...)

’Inflected Arcade House’, Arakawa and Gins, Shonky: The Aesthetic of Awkwardness, The MAC, Belfast. Copyright Estate of Madeline Gins Foundation

Also, Art@Work in Galway and The Breath from Fertile Grounds

Hunters in the Snow (Winter), Pieter Bruegel the Elder (1565), 162x170cms. Image courtesy of Kunsthistorisches Museum Wien

Art in focus: you’ll have to make your way to Vienna to view Hunters in the Snow

From particular ocean views to exaggerating in the interests of truth

David Eager Maher, Fruit Tree, 2017, oil on panel, 50cm x 60cm

Visual Art: David Eager Maher’s paintings blur the lines between nature and culture

Berthe Morisot was and is rightly regarded as a central figure of Impressionism.

Berthe Morisot’s ‘Jour d’Eté’ can be seen and enjoyed at the Hugh Lane Gallery, Dublin

An exhibition of stunning quality: Vermeer at The National Gallery of Ireland. Photograph: Alan Betson / The Irish Times

Ticket Awards: Vermeer at National Gallery of Ireland comes in second place

‘Fruit Tree’, David Eager Maher, 2017, Oliver Sears Gallery

Also, Arrival in Dún Laoghaire and David Eager Maher’s Locus

Russborough House is  currently closed for urgent electrical and other works. Photograph: Eric Luke

The Cornfield by Jacob van Ruisdael will now go to the Ulster Museum in Belfast

Image from Gerard Byrne’s video installation ‘In Our Time’ (for for Skulptur Projekte Münster), at the Kerlin Gallery, Dublin. Photograph: courtesy of LWL-Museum für Kunst und Kultur (Westfälisches Landesmuseum), Münster

Gerard Byrne reckons commercial radio is genius minimalist artwork. So he built his own

The Chasm Records (Hanukkah menorah, 1940s), installation view at Project Arts Centre, 2017. Photograph: Ros Kavanagh. Photos courtesy project Arts Centre

VIsual art reviews: From Fake Mountains to Faith by Szabolcs KissPál; and The nature of drifting by Ulrich Vogl

'Men of Destiny'. A group of men who are tying up a fishing boat on the shore at the end of a day. A masted fishing boat on the water. The setting sun on the horizon. – Jack B Yeats, 'Men of Destiny', 1946. © Estate of Jack B Yeats, DACS London/IVARO Dublin, 2017

Art in focus: Jack B Yeats’s 'Men of Destiny' can accommodate a range of thematic concerns

‘Dog on lakeshore’, acrylic on canvas, 60cm x 60cm Almha Roche, Pop-Up 2017 in Merrion Square, Dublin

Also, Self-Reflections in Banbridge, Turbulence in Sligo and Interfaces in The Burren

Body Farm: Wood, glue, acrylic, dust, 2013. All photographs by Ros Kavanagh

In a vast central space of what seems to be an art gallery, a display of strange, sculptural objects

Rodney Graham’s ‘The Gifted Amateur’,  from a private collection, curtesy Hauser & Wirth. Photograph: Ken Adlard

Rodney Graham at Imma, Dietrich Blodau retrospective and Emma Finucane’s work inspired by nursing and midwifery

  Caravaggio’s “Boy Peeling Fruit”  at  “Beyond Caravaggio”, at the National Gallery of Ireland, one of the standout exhibitions of 2017. Photograph: Nick Bradshaw

The National Gallery enjoyed the most momentous year in its history

A photograph from the exhibition The Light Gleams an Instant

Danish photographer Krass Clement took the pictures in 1991 but he insists not much has changed

Jack Hickey with  his painting My Time, which has won the 2017 Hennessy Portrait Prize

Hickey wins €15,000 first prize and a commission of €5,000

Zane Sutra beside her portrait on the wall of the National Gallery of Ireland as part of the Hennessy Portrait Prize. Photograph: Leon Farrell/Photocall Ireland.

Disparate, arresting . . . these works reveal the diversity inherent in the genre of portraiture

Detail of Stephen McKenna Poussinesque – Euphoria (2012) oil on canvas 120x150cm. Image courtesy: The Stephen McKenna Estate and Kerlin Gallery

Art in focus: ‘Poussinesque – Euphoria’ by Stephen McKenna

A work by Martin Gale which features in Wonderment at Claremmorris Gallery. Photoraph:

Family life in focus in Oonagh Hurley’s pensive works while Claremorris Gallery celebrates 10 years

Seán Hillen, The Queen of Heaven Appears at Newgrange, 1994

The valley’s concentration of significant sites proves fertile ground for seven artists

Krass Clement, ‘Drum’. Photograph: Krass Clement

Bicentenary of birth of George Victor Du Noyer’s birth, Gwen O’Dowd prints and two Ballaghs team up

Washford Pyne 11 is a landscape painting by  English artist Hannah Brown.  A grass trail leads into the darkness of a tree line.

Art in Focus: Hannah Brown’s Washford Pyne, 11

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

More articles