seen from Canada
seen from Brazil
seen from Australia
seen from United States
seen from United States
seen from United States
seen from Slovakia
seen from Germany
seen from France
seen from United States
seen from China
seen from Malaysia
seen from Canada
seen from China
seen from Singapore
seen from Singapore
seen from Denmark
seen from South Korea
seen from United States
seen from Russia
~ John Lavery, Hazel in Rose and Grey (1922)
via fineartamerica.com
Richard O'Neill (1923-2009) — The Outsider [oil on board, 1960]
Herbert Barnard John Everett, 1877-1949
Artist: William Orpen (Irish, 1878-1931)
Date: c. 1900
Medium: Oil on canvas
Collection: National Maritime Museum, Greenwich, London
A Fireside Read
Artist: William Mulready (Irish, 1786-1863)
Date: 1825
Medium: Oil on wood
Collection: Private Collection
Description
This picture, painted in Mulready’s liquid palette of warm caramel tones, is an unusually intimate study of domestic quiet. The little painting on the mantelpiece looks also to be by Mulready. The sitter resembles a Mrs. Leckie, with whom Mulready had a relationship.
The Mirror
Artist: Sir William Orpen (Irish, 1878–1931)
Date: 1900
Medium: Oil on canvas
Collection: Tate Britain, London, United Kingdom
Description
The sitter in this portrait is Emily Scoble, a model from the Slade School of Art. Orpen was briefly engaged to her. The room is apparently an accurate portrayal of Orpen’s lodgings, but the shallow pictorial depth and decorative, or ‘aesthetic,’ arrangement of objects is based on Whistler’s famous portrait of his mother in profile. The circular mirror on the wall reflects the artist painting at his easel. This is a device which Orpen borrowed from a 15th-century painting by Jan van Eyck, The Arnolfini Portrait, which he would have seen on display at the National Gallery.
Noah's Sacrifice
Artist: Daniel Maclise (Irish, 1806–1870)
Date: 1847-1853
Medium: Oil on canvas
Collection: Leeds Art Gallery, Leeds, England
Description
After the flood, Noah built an altar and offered burnt sacrifices of clean animals to God, marking an act of worship, gratitude, and faith for his family's survival. This voluntary act, likely driven by his dedication, brought a "sweet savor" to the Lord, indicating acceptance of his worship.
Ira Aldridge in the Role of Shakespeare's Othello
Artist: William Mulready (Irish, 1786–1863)
Date: ca. 1826
Medium: Oil on panel
Collection: Walters Art Museum, Baltimore, Maryland, United States
Ira Aldridge in the Role of Shakespeare's Othello
The subject of this work shows a marked resemblance to the famous African-American actor Ira Aldridge (1807-1867), praised as one of the greatest tragic actors of his day, he won renown in Europe for his Shakespearean roles, including Lear, Macbeth and, most famously, Othello. On October 10, 1825, Aldridge made his European debut, making him the first African American actor to establish himself professionally in a foreign country (at London's Royal Coburg Theatre). The following year he played Othello. By the time of his death in 1867 he had won awards and medals all over Europe, having played in Berlin, Brussels, Paris, Frankfurt, Cologne, Bonn, Budapest and the major cities of Russia. An innovation Aldridge introduced early in his career was a direct address to the audience on the closing night of his engagement at a given theatre. Especially in the years leading up to the emancipation of enslaved people in British colonies (by act of 1833) he would speak of the injustice of enslavement and the passionate desire for freedom of those held in bondage.
May Blossom by Charles Collins (19th-20th century, oil on canvas)
