1916 Easter Rising centenary in Dublin

Easter 2016 saw the centenary commemorations of the Easter Rising in Dublin in 1916 - when an ill-fated insurgency was met by overwhelming British firepower. Many lost their lives and neighbourhoods in Dublin were reduced to rubble. The Rising and its effects had a major impact on the course of Irish history - subsequent struggles led eventually to independence in southern Ireland.

The centenary celebrations included many exhibitions, discussions and performances. Among these were a wonderful series of short films - After '16 - commissioned by the Irish Film Board, which explored different aspects of the 1916 Rising and its aftermath.

 

 

Archive footage shows the devastating impact of the British response to the insurgency.

 

 


Avebury's Stones Selected Shaped Carved

West_KennettAt Avebury - the Neolithic monumental complex and World Heritage Site in Wiltshire - are Britain’s largest stone circle, longest stone avenue and finest megalithic long barrow. These great standing stones have repeatedly been described as unworked since they were first documented, but in a new book, Di Pattison finds abundant evidence to the contrary.

Pattison documents a remarkable corpus of over 170 large-scale three-dimensional carvings, including astonishing architectural installations in 4D, the principal motif of which is the human head. She convincingly demonstrates that the carvings and masonry were integral elements of each structure from the outset, certain types of stone being chosen to be worked and others to make tools. 

The book is the product of ten years research and has been peer-reviewed. It is introduced by Terence Meaden and Kate Prendergast. 

Further details are available here.


The Decline of the Carthaginian Empire (1817)

N00499_10As the current exhibition at the National Gallery explores (Turner Inspired: In the Light of Claude), Claude Lorrain was Turner's favourite old master painter. The Decline of the Carthaginian Empire is one of the most outstanding paintings in the exhibition. Painted as one of a pair, Turner employs many of Claude's signature motifs: imaginary grand classical architecture, mythical themes and a light-suffused canvas with the sun at its heart.

The light in this painting is uncanny - it invokes the sun-drenched pastoral idylls poineered by Claude, but also anticipates Turner's more abstract works where form falls away. The invocation of Carthage is complex: it reflects the theme of inevitable imperial collapse, but also a mythic imperial tradition of which ancient Carthage was such an important part. By invoking it with such grandeur, Turner rejects those who wanted to downplay the role of Carthage in both myth and history in favour of almighty Rome. See my article on Carthage here for a further exploration of this theme.

The Decline of the Carthaginian Empire is part of the Turner Bequest at the Tate.