Modern Ireland in 100 Artworks was edited by Fintan O’Toole and Catherine Marshall. The book, available as an ebook and as a printed book, traces the story of Ireland’s creative output from the revolutionary period until today. The book consists of 100 artworks created from 1916 (the year of the Easter Rising) to 2015, using each year as a spring board to trace the cultural history of Ireland. The works include visual works (paintings, sculptures, architecture) as well as literary; images of the visual works are included. The literary works are represented only by allusion and discussion in the short essays accompanying each piece. It’s interesting, though I suspect more interesting the more you know; I’m woefully ignorant of the visual arts of modern Ireland.
Print copies of the book can be purchased from the Royal Irish Academy. Modern Ireland in 100 Artworks is a project of the Royal Irish Academy, in partnership with The Irish Times. The ebook, in both Mobi and EPub formats may be downloaded here.
Ériu, a journal from the Royal Irish Academy, has published a special compilation issue in honor of the International Conference of Medievalists. The articles are all reprints, but they are some stellar reprints, and you can read them or download the .pdfs without a subscription to Ériu.
The complete table of contents contains links to download .pdfs of the articles. Here are some that are particularly noteworthy:
Calvert Watkins — “Sick-maintenance in Indo-European.”
Donnchadh Ó Corráin. “The education of Diarmait Mac Murchada.”
T.M. Charles-Edwards. “Early Irish Saints’ Cults and their Constituencies.”
R. I. Best. “Notes on the script of Lebor na hUidre.”
This is the July calendar image from the Très Riches Heures du Duc de Berry. It shows wheat being harvested in a field to the left, while on the right a man and a woman are shearing sheep. The labors of the month are so very dependent on local seasons, and the cooperation of the weather, that it’s not really surprising to see sheep-sheering as a labor for June and July.
In the background is one of the Jean de Berry’s many castles; exactly which castle is in question (only three of his many castles are still extant). If you look very closely at the bottom left of the image, and in the river in front of the castle in the back ground, you can see swans. The swan is one of Jean de Berry’s heraldic devices (the bear is another; and his arms bear the royal fleur de lys).