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Table of Contents

  1. Color Plate Supplement
  3. DOI: https://doi.org/10.1353/eir.1998.0028
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  1. Getting the Picture: On Dermot Seymour’s Painting the Russians Will Water Their Horses on the Shores of Lough Neagh1
  2. Seamus Heaney
  3. pp. 9-12
  4. DOI: https://doi.org/10.1353/eir.1998.0001
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  1. Primavera
  2. Nuala Ní Dhomhnaill, Caoimhín Mac Giolla Léith
  3. pp. 13-14
  4. DOI: https://doi.org/10.1353/eir.1998.0002
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  1. Who Owns Irish Art?
  2. Fintan Cullen
  3. pp. 15-21
  4. DOI: https://doi.org/10.1353/eir.1998.0003
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  1. Irish Visual Culture: A Policy Review
  2. Anne Kelly
  3. pp. 22-37
  4. DOI: https://doi.org/10.1353/eir.1998.0004
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  1. The Irish Collection in the National Gallery of Ireland
  2. Síghle Bhreathnach-Lynch
  3. pp. 38-49
  4. DOI: https://doi.org/10.1353/eir.1998.0005
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  1. A New Light on the Sheela-na-gig
  2. Barbara Freitag
  3. pp. 50-69
  4. DOI: https://doi.org/10.1353/eir.1998.0006
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  1. The Four Erins: Feminine Images of Ireland, 1780–1900*
  2. L. Perry Curtis Jr.
  3. pp. 70-102
  4. DOI: https://doi.org/10.1353/eir.1998.0007
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  1. Visualizing the Liberator: Self-Fashioning, Dramaturgy, and the Construction of Daniel O’Connell1
  2. Gary Owens
  3. pp. 103-130
  4. DOI: https://doi.org/10.1353/eir.1998.0008
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  1. The Big House
  2. Vona Groarke
  3. p. 130
  4. DOI: https://doi.org/10.1353/eir.1998.0009
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  1. Lines of Resistance: The O’Kelly Brothers in the Sudan
  2. Niamh O’Sullivan
  3. pp. 131-156
  4. DOI: https://doi.org/10.1353/eir.1998.0010
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  1. Mary Farl Powers (1948–1992) American Person, Irish Artist
  2. Katherine Anne Powers
  3. pp. 157-172
  4. DOI: https://doi.org/10.1353/eir.1998.0011
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  1. Gaol/Gaol: Re-Viewing Silence in Kilmainham Gaol
  2. Kathleen O’Brien
  3. pp. 173-188
  4. DOI: https://doi.org/10.1353/eir.1998.0012
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  1. From the Poetic to the Political
  2. Declan McGonagle
  3. pp. 189-190
  4. DOI: https://doi.org/10.1353/eir.1998.0013
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  1. Hair Pieces: Alice Maher’s Recent Art
  2. Adele Dalsimer, Vera Kreilkamp
  3. pp. 191-197
  4. DOI: https://doi.org/10.1353/eir.1998.0014
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  1. An Interview with Alice Maher
  2. Alston Conley
  3. pp. 198-211
  4. DOI: https://doi.org/10.1353/eir.1998.0015
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  1. Dorothy Cross: Beyond Feminism
  2. Robin Lydenberg
  3. pp. 212-226
  4. DOI: https://doi.org/10.1353/eir.1998.0016
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  1. Sensing the Sculpture of Kathy Prendergast: A Portrait of the Female Life Cycle
  2. Sheila Dickinson
  3. pp. 227-233
  4. DOI: https://doi.org/10.1353/eir.1998.0017
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  1. Ciarán Lennon’s Hidden Scripts
  2. Katherine Harding Nahum
  3. pp. 234-244
  4. DOI: https://doi.org/10.1353/eir.1998.0018
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  1. All in the Mind?: Photographing the Border
  2. Bill Rolston
  3. pp. 245-254
  4. DOI: https://doi.org/10.1353/eir.1998.0019
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  1. Insiders and Frontiers: Paul Seawright’s Images of “The Troubles”
  2. Alvin Jackson
  3. pp. 255-265
  4. DOI: https://doi.org/10.1353/eir.1998.0020
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  1. Six Artists in Search of a Landscape
  2. Caoimhín Mac Giolla Léith
  3. pp. 266-285
  4. DOI: https://doi.org/10.1353/eir.1998.0021
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  1. Vitruviana, and: Felim Egan: A Catalogue Note
  2. Seamus Heaney
  3. pp. 286-287
  4. DOI: https://doi.org/10.1353/eir.1998.0022
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  1. “When Time Began to Rant and Rage”: Figurative Painting from Twentieth-Century Ireland: A Review Essay
  2. Robert Tracy
  3. pp. 288-301
  4. DOI: https://doi.org/10.1353/eir.1998.0023
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  1. The Life of Jack Yeats
  2. Bruce Arnold
  3. pp. 302-308
  4. DOI: https://doi.org/10.1353/eir.1998.0024
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  1. After Michelangelo
  2. Derek Mahon
  3. p. 309
  4. DOI: https://doi.org/10.1353/eir.1998.0025
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  1. Notes and Queries
  2. Barbara Dawson
  3. pp. 310-313
  4. DOI: https://doi.org/10.1353/eir.1998.0026
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  1. Editors’ Introduction
  2. The Editors, Vera Kreilkamp
  3. pp. 5-8
  4. DOI: https://doi.org/10.1353/eir.1998.0000
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  1. Contributors
  3. pp. 315-319
  4. DOI: https://doi.org/10.1353/eir.1998.0027
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