In Focus: Adult Learning

A painting showing the waterfall at Powerscourt Estate, Co. Wicklow through trees. In the left foreground of the painting, we can see some figures who are dwarfed by the grandeur of the waterfall.
George Barret (1728/32-1784), View of Powerscourt Waterfall, c.1760Credit

While we are temporarily closed, we are bringing the National Gallery of Ireland to you at home, wherever in the world that may be!

As part of our National Gallery at Home initiative, we have a new series of In Focus posts from our Education team linking works from our collection with key art historical, theoretical or philosophical texts. Aimed especially at third-level students, but accessible to all, this series aims to support in-depth engagement with our collection and the selected texts.

You can explore the rest of our National Gallery at Home content here.

Joseph Mallord William Turner (1775-1851), 'A Ship against the Mewstone, at the Entrance to Plymouth Sound', c.1814. © National Gallery of Ireland.

In Focus: The Sublime in Art

In part one, we consider the philosopher and statesman Edmund Burke’s (1729-1797) writings on the sublime while looking at supporting paintings in our collection.

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Mainie Jellett (1897-1944), 'Decoration', 1923. © National Gallery of Ireland.

In Focus: Cubism

In part two, we consider the art movement Cubism through excerpts from Cubism, by Albert Gleizes and Jean Metzinger, and linking it with works from our collection by Mainie Jellett and Juan Gris. 

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Daniel Maclise (1806-1870), 'The Marriage of Strongbow and Aoife', c.1854. © National Gallery of Ireland.

In Focus: The Emancipation of the Spectator

In part three, we look at The Marriage of Strongbow and Aoife by Daniel Maclise while considering viewers of art as active participants. This discussion is supported by Jacques Rancière’s essay The Emancipated Spectator.

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