
by Edvard Munch (1911, 455 x 780 cm, oil on canvas, University of Oslo; this very large work hangs in the University Aula at the University of Oslo where it is flanked by ten other Munch paintings )

by Edvard Munch (1911, 455 x 780 cm, oil on canvas, University of Oslo; this very large work hangs in the University Aula at the University of Oslo where it is flanked by ten other Munch paintings )
I was trying to find a work of art with which to illustrate the start of teaching term and decided on this remarkable painting by El Greco, usually called The Opening of the Fifth Seal though it has been given other names. Actually it’s only part of the original painting – the upper section was destroyed in 1880 – which at least partly accounts for the unusual balance of the composition. What I find astonishing about this work, though, is that at first sight it looks for all the world like an early 20th Century expressionist work, complete with distorted figures and vivid colour palette. It’s very hard to believe that it was painted in the early years of the 17th Century! El Greco was 300 years ahead of his time.
by Doménikos Theotokópoulos (“El Greco“), painted between 1608 and 1614, 224.8 cm × 199.4 cm, oil on canvas, The Metropolitan Museum of Art, New York.
by Bridget Riley (1994, 1576 × 2278 mm, Oil on Canvas, Private Collection)
Ahead of the opening ceremony of the 2024 Paris Olympic Games, I thought I’d post a reminder of Ireland’s first ever Olympic medal. A silver medal was awarded to Ireland at the 1924 Olympic Games for this painting by Jack Butler Yeats, brother of the poet William Butler Yeats:

Ireland only gained independence in 1922 so 1924 was the first Olympics at which Ireland competed as a separate nation. It may surprise you to learn that art competitions were a part of the Olympic Games from 1912 until 1948, as were competitions in music and literature. The 1924 Gold Medal for painting was won by an artist from Luxembourg called Jean Jacoby who specialized in sporting themes.
Although it was a style Yeats only started to experiment with around 1920, The Liffey Swim (which you can see in the National Gallery of Ireland) is clearly an Expressionist work – the unusual colour palette and texture of the paint are characteristics of that movement – but it also serves as an interesting bit of social history. The Liffey Swim is a regular event in Dublin (except during the Covid-19 pandemic) but only began in 1920 so it was fairly new when Yeats painted it. He captures the excited atmosphere surrounding the event by placing the viewer in the middle of a huge crowd struggling to get a good view, with the swimmers only shown in cursory detail. You see far more of the spectators than you do of the race!
I thought I’d share a couple of little clips I took on my visit to the Fundació Joan Miró last week, one is a few of and from the rooftop, which is dotted with various sculptures, and the other is a fascinating mercury fountain created by Alexander Calder. And don’t worry, it’s enclosed in a glass case!

I was not inconsiderably amused by the above homage to The Scream by Edvard Munch which I see as a powerful artistic response to pointless corporate bureaucracy. It was created by Adam Hillman, an artist who specializes in making interesting designs and collages from everyday objects. You can read more about, and see more examples of, his work here.

by Wassily Kandinsky (1909; oil on canvas, 83 x 116 cm; Astrakhan, Dogadin State Art Gallery)
Today is 1st May, so it’s the Labour Day Holiday in Barcelona. Colleagues in Ireland will have to wait until Monday 6th May for their equivalent holiday. The First of May, Beltane (Bealtaine in Irish), is a festival of pagan origin that roughly marks the mid-point between the Spring Equinox and the Summer Solstice. It’s one of the so-called Cross-Quarter Days that lie halfway between the equinoxes and solstices.
In view of the ancient origins of this holiday I thought I’d share some pictures of the amazing megalithic burial grounds at Carrowmore which is about 4km outside Sligo (where I have been on a secret mission). Carrowmore is the largest of the four megalithic cemeteries in Ireland in terms of the number of tombs, although the tombs are smaller in size and less complicated than the larger structures found at Brú na Bóinne. The structures at are also significantly older; there are signs of human habitation on the site going back at least 6000 years. The English name derives from the Irish An Cheathrú Mhór, which means ‘the great quarter’. Photographs don’t do justice to the extraordinary beauty of the landscape around the site but here is a panorama which gives some impression.











A visitor can easily understand why this was felt to be an appropriate last resting place for the Great and the Good. The surrounding topography is very interesting, as you can see from the first picture (of a model in the Visitor’s Centre); it’s on a peninsula between Sligo Harbour to the North and Ballysadare Bay to the South, and is surrounded on three sides by mountains. In particular, the site is overlooked from the west by Knocknarea, on top of which lies a large cairn, Miosgán Meadhbha, reputed to be the burial-place of the legendary Queen Maeve (Méabh in modern Irish). I was surprised to learn that this has never been excavated, so nobody really knows who or what is inside though it probably contains a passage tomb of similar form to those on the Carrowmore site. The cairn at the centre of Carrowmore, called Listoghil, the entrance to which you can see in one of the pictures, is a reconstruction.
Sadly, many other tombs were destroyed in the 19th Century, with stones being robbed to make walls when the land was enclosed, and large-scale quarrying for gravel in the area. Only some of the tombs are on publicly-owned land, but others are visible in nearby fields and indeed all around the area. There is even a stone circle in Sligo itself, on a housing estate called Abbeyquarter. Who knows what else is lurking under the unexcavated ground?
This forthcoming Bank Holiday weekend there is the Queen Maeve Festival in Sligo, but I will be in Barcelona.

by Joan Miró (1940, gouache, watercolor, and ink on paper, 38cm × 46 cm, The Museum of Modern Art, New York City )