This section features a series of articles on sculpture. We have Professor Paula Murphy’s ‘Looking at Public Sculpture in Dublin’, which provides an overview of sculpture in the city and includes many illustrations of important works. In partnership with the Royal Irish Academy, Sculpture Dublin is delighted to feature a selection of essays, and artists’ biographies, from Sculpture 1600-2000, Volume 3 in the RIA’s 5-volume publication, Art and Architecture of Ireland (Yale, 2014).

  • Active/Inactive: Sculpture and Women in the Hugh Lane Gallery Collection

    Our partner, the Hugh Lane Gallery, presents this talk by UCD Emeritus Professor Paula Murphy on Sculpture and Women in the gallery collection.

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    The sculpted portrait in Ireland is, in European terms, a comparatively late arrival, a fact that in no way diminishes its historical significance. This applies to the period before 1917, whether it is considered within the integral context of British sculpture as a whole, or as a phenomenon in its own right.

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    If words are the vehicles of thought, writing, and its more formal representation in lettering, perpetuates them and prevents them from vanishing into space and time. The individual letter, though used casually in our everyday life, is the highest means of expression available to the human mind and is the currency in which our civilization is recorded.

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    Tutty’s modernity, and that of others who had been making religious art since the late 1960s, was enabled by decisions made at the Second Vatican Council, which closed in 1965 and which acknowledged that ‘Artistic styles vary from one time to another. Modern art is the expression of our times; provided that it is in keeping with divine worship, a work of modern art may be used for sacred use’.

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