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Motivations have varied. Some painters sought to flatter their patrons with reassuring vistas of their estates; others produced idyllic views of valleys, riverscapes or waterfalls; yet more aimed to capture the authentic Celtic landscape and rural customs of the West of Ireland. In line with the ups and downs of Irish prosperity, at least in places like Dublin, Cork, Waterford and Belfast, landscape artists were employed to record views of the urban landscape by which to appreciate the growth and architectural detail of the city.
The birth of the new Irish state lent further encouragement to Irish artists , who utilized the landscape of both town and country to promote the modern and Celtic image respectively of the new Ireland. During the course of the 20th century, Irish landscape painting has maintained all these historical forms and motivations, albeit in a diverse variety of representational art styles, from the West of Ireland landscape of cliff, bog and turf, to the realist urban streetscape and suburban vista, and the photo-realist imagery of individual sites.
An outstanding example of representational painting in Ireland. Island Landscapes. By the Sligo born contemporary artist Patrick Collins. The Ripe Field. By West Cork based artist William Crozier. Meanwhile, in parallel to this 'traditional' genre of Irish landscape, some Irish artists went abroad - particularly to France - where they joined other European landscape artists in schools at Barbizon, Pont-Aven and Concarneau, as well as St Landscape Artist Canada Limited Ives in England, to paint in the Impressionist and Post Impressionist styles, to name but two.
Thus the history and heritage of landscape painting in Ireland encompasses numerous forms, styles and motivations: far too many to accomodate within a single school of Irish art.
See also, the Most Expensive Irish Paintings - several of which belong to the Continental plein-air tradition. The earliest landscapist of note may have been Susanna Drury fl. A contemporary, Joseph Tudor d. Two European artists also flourished in mid-eighteenth century Ireland: the Dutchman Johann van der Hagen fl.
Meantime, Anthony Chearnley fl. Two important Irish landscape artists of this time, were John Butts c. Although hardly known, the former was an important influence on the latter, who was a highly original artist at least in his early works noted for his evocative impasto paintings of Powerscourt, Waterfall and Dargle, together with mountainscapes of Wicklow.
While the English artist Francis Wheatley , noted for his exquisite rustic scenes eg. Nymphs Bathing, a View of the Salmon Leap at Leixlip was having an important impact on Irish topographical landscapists in the early s, a group of native Irish artists was emerging. These included the classical landscape painter George Mullins fl. The latter, a founder member of the Royal Hibernian Academy , was renowned for his dramatic rendering of rugged scenery and stormy weather.
Other members of the group included Nathaniel Grogan the Elder c. They featured views of the lakes of Killarney, a lake in Cavan and the village of Howth c. The donation also incorporated paintings by Thomas Roberts and Robert Carver , all of which are considered outstanding examples of idealised landscape painting in Ireland during the 18th century. As the home of the principal organizations and patrons of the arts, as well as the most important city of Ireland, Dublin and its urban landscape received a good deal of attention from its artists.
The best topographical watercolour drawings of the city were produced in by the draughtsman printmaker James Malton d. Influenced by the English School of landscape painting , the nineteenth century witnessed a gradual but definite change in Irish landscape art. Topographical-type pictures, produced to enable wealthy families to admire their grounds and estates, declined, as artists began to paint views of independent beauty or in ways that ignored any issue of ownership: a change exemplified in The Poachers, by James Arthur O'Connor , considered to be the 'father of modern Irish landscape painting'.
Other like-minded artists of the period included William Sadler , the oil painter Henry O'Neill , George Petrie , and the important watercolourists John Henry Campbell , Andrew Nicholl and Francis Danby The Dublin Brocas family, comprising Henry Brocas Senior and his sons Samuel Frederick Brocas and Henry Brocas Junior , were noted for their engravings, watercolours and oils, and especially their views of Dublin.
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