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Also covered by the term is the visual art of the Celtic Revival (on the whole more notable for literature) from the 18th century to the modern era, which began as a conscious effort by Modern Celts, mostly in the British Isles, to express self-identification and nationalism, and became popular well beyond the Celtic nations, and whose style is ...
The Celtic Revival (also referred to as the Celtic Twilight [1]) is a variety of movements and trends in the 19th, 20th and 21st centuries that see a renewed interest in aspects of Celtic culture. Artists and writers drew on the traditions of Gaelic literature , Welsh-language literature , and Celtic art —what historians call insular art (the ...
In the second half of the 19th century a climate of cultural resurgence and nationalist ideals contributed to the development of an Irish style. A revived interest in the Irish language and Celtic history prompted a revival in the Irish visual arts as well. Belfast born Sir John Lavery may be the most internationally known painter of this ...
Developments in late nineteenth-century Scottish art are associated with the Glasgow School, a term that is used for a number of loose groups based around the city. The first and largest group, active from about 1880, were the Glasgow Boys , including James Guthrie (1859–1930), Joseph Crawhall (1861–1913), George Henry (1858–1943) and E ...
One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855. A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. [1]
The form gained new popularity during the Celtic Revival of the 19th century; the name "Celtic cross" is a convention dating from that time. The shape, usually decorated with interlace and other motifs from Insular art, became popular for funerary monuments and other uses, and has remained so, spreading well beyond Ireland.
The name by which it became known was chosen by its first commercial owner, the Dublin-based jeweler George Waterhouse, as a marketing ploy for selling copies during the height of the 19th century Celtic Revival. For this reason, many art historians describe it with inverted commas as the "Tara" brooch. [3] Its decoration and ornamentation are ...
Jim Fitzpatrick (born 1944) – artist, especially of Irish Celtic art; T.P. Flanagan (1929–2011) – landscapes; John Henry Foley (1818–1874) – sculptor; Gerda Frömel (1931–1975) – sculptor; Stanhope Alexander Forbes (1857–1947) – artist and member of the Newlyn school of painters; Graham Forsythe (born 1952) – painter
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