Irish women artists contributed to making strides across portraiture, landscapes, and abstract modernism, with many also being significant organisers, teachers, and activists.
In the early twentieth century, the majority of women practising art in Ireland shared similar social backgrounds which played a crucial role in facilitating their careers. This finance privilege allowed women artists to travel abroad, furthering their artistic education and engaging with international trends, such as Sarah Purser and Mary Swanzy who studied in Paris. The opening of art institutions to women increased access to formal art training, with the Royal Dublin Society admitting women from 1849. In 1924, the RHA elected Sarah Purser as its first female member. She was followed three years later by Margaret Clarke.
In 1943, Mainie Jellet was a co-founding member of the Irish Exhibition of Living Art, one of the most significant exhibitions of contemporary Irish art. The IELA provided an alternative exhibition space as art institutions resisted displaying modern art. The success of the IELA, which was dominated by women, with Norah McGuinness as its President from 1944 to 1971 and Anne Yeats serving as its Secretary. Norah McGuinness and Nano Reid were chosen by the Irish Government to represent Ireland at the Venice Biennale in 1950. In 1956, sculptor and IELA committee member Hilary Heron was chosen to represent Ireland, along with Louis le Brocquy. During The Troubles in Northern Ireland, artists such as Rita Duffy, explored themes of violence, trauma, and the impact of the conflict.
Despite many challenges and low visibility, women played a crucial role in the development of modern art and the decorative arts in Ireland. Actively rejecting contemporary social conventions, such women pursued their own goals as artists and educators.
In the early twentieth century, the majority of women practising art in Ireland shared similar social backgrounds which played a crucial role in facilitating their careers. This finance privilege allowed women artists to travel abroad, furthering their artistic education and engaging with international trends, such as Sarah Purser and Mary Swanzy who studied in Paris. The opening of art institutions to women increased access to formal art training, with the Royal Dublin Society admitting women from 1849. In 1924, the RHA elected Sarah Purser as its first female member. She was followed three years later by Margaret Clarke.
In 1943, Mainie Jellet was a co-founding member of the Irish Exhibition of Living Art, one of the most significant exhibitions of contemporary Irish art. The IELA provided an alternative exhibition space as art institutions resisted displaying modern art. The success of the IELA, which was dominated by women, with Norah McGuinness as its President from 1944 to 1971 and Anne Yeats serving as its Secretary. Norah McGuinness and Nano Reid were chosen by the Irish Government to represent Ireland at the Venice Biennale in 1950. In 1956, sculptor and IELA committee member Hilary Heron was chosen to represent Ireland, along with Louis le Brocquy. During The Troubles in Northern Ireland, artists such as Rita Duffy, explored themes of violence, trauma, and the impact of the conflict.
Despite many challenges and low visibility, women played a crucial role in the development of modern art and the decorative arts in Ireland. Actively rejecting contemporary social conventions, such women pursued their own goals as artists and educators.
