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- W4285478009 abstract "This chapter focuses on two major art controversies of the 1950s – the rejection by the Dublin Municipal Gallery of Modern Art of the painting, <italic>A Family</italic>, by the young London based artist, Louis le Brocquy and of <italic>Reclining Figure</italic> <italic>II</italic>, by the renowned British sculptor, Henry Moore. These disputes were central to the wider debate about the relevance of modern art to Ireland amid the post-war emphasis on the promotion of eminent modern artists or ‘art stars’. After the establishment of the Republic in 1949, the setting up of the Cultural Relations Committee (1948) and the Arts Council of Ireland (1951) saw increasing official involvement in visual art. Modernism was favoured in Ireland’s participation at international exhibitions, most notably the Venice Biennale, while academic realist art was marginalised. The new elite, reacting against the isolationism of the pre-war era now associated with academic realism, promoted a cosmopolitan image of Irish culture internationally. Ultimately the censorious attitude taken towards the work of Moore and le Brocquy in Dublin reflected wider concerns about control of the art field in Ireland." @default.
- W4285478009 created "2022-07-15" @default.
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- W4285478009 date "2021-04-01" @default.
- W4285478009 modified "2023-10-14" @default.
- W4285478009 title "Promotion" @default.
- W4285478009 doi "https://doi.org/10.3828/liverpool/9781789622355.003.0004" @default.
- W4285478009 hasPublicationYear "2021" @default.
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