Presenting over 300 objects drawn from public and private collections across North America—as well as the Art Institute’s own important collection of Irish decorative and fine arts—this exhibition is the first to explore the rich and complex art and culture of Ireland during the long 18th century.
The seeds for the exhibition were first planted by historian Desmond Fitzgerald, 29th Knight of Glin, who in his 2007 book, Irish Furniture, outlined his vision for “a major exhibition on Ireland’s decorative arts of the 18th century, which would . . . waken up the world to a staggering array of art that was manufactured in Ireland during this period.” Surprisingly, such an exhibition has never before been undertaken on either side of the Atlantic. Ireland: Crossroads of Art and Design, 1690–1840 expands on the Knight of Glin’s vision to also include paintings, sculpture, and architecture. Irish book bindings, ceramics, glass, furniture, metalwork, musical instruments, and textiles are also featured in a series of “Made in Ireland” galleries highlighting Dublin, Cork, Belfast, and Waterford as centers of production.
Ever since the agricultural depression in the British Isles in the 1880s, many extraordinary objects from Ireland have come to the United States and Canada. Today they are scattered in locations from Honolulu to Boston and from Ottawa, Ontario, to San Antonio, Texas. These often little-known objects come together for the first time in this pioneering exhibition and the accompanying catalogue, which includes the latest scholarship by some of Ireland’s most respected historians. Works of art representing 24 Irish counties are installed in ten galleries focusing on such themes as the history of Ireland through portraiture; Dublin as a center of commerce, culture, and government; Irish landscapes and tourism; and life in the Irish country house.
The Art Institute of Chicago is not only the first but the only venue to present this show celebrating the Irish as artists, collectors, and patrons—a fitting tribute to Chicago’s own deep Irish roots.
Sponsors Lead funding has been generously provided by Kay and Fred Krehbiel, Jay Frederick Krehbiel, and the Krehbiel Family Foundation.
Lead Corporate Sponsor
Major support has been provided by Molex, Incorporated; Neville and John Bryan; Caryn and King Harris, The Harris Family Foundation; the Eloise W. Martin Legacy Fund; and R. J. O'Brien & Associates LLC and Patricia and John O’ Brien.
Additional support has been generously contributed by The Richard H. Driehaus Foundation, Maureen O’Malley Savaiano, The Buchanan Family Foundation in honor of Katherine H. Buchanan, Pamela and Roger Hull, Patrick and Aimee Butler Foundation, Richard and Ann Carr, Art and Diane Kelly, Maureen and Edward Byron Smith Jr. Family Endowment Fund, Doris and Stanford Marks, Philip and Betsey C. Caldwell Foundation, the Irish Georgian Society, Shawn M. Donnelley and Christopher M. Kelly, The Felicia Fund, Inc., Ellen and Jim O'Connor, the Paul Mellon Centre for Studies in British Art, Ronald and Rose Wanke, Gloria G. Gottlieb, and Steven J. Zick.
Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Kenneth and Anne Griffin, Robert M. and Diane v. S. Levy, Thomas and Margot Pritzker, and the Earl and Brenda Shapiro Foundation.
8 hours 11 min ago The Art Institute of Chicago #TBT A view of George F. Harding’s “castle museum,” built in 1927.
The prominent businessman and politician had already amassed a sprawling collection of artworks, arms, and armor when he built an annex to his home on Chicago’s South Side. The Gothic Revival stone turret—complete with cannonballs embedded in the exterior walls—also included a dungeon and secret passages. Following Harding's death in 1939, the “castle” became a public museum for two decades until it was demolished during an urban renewal project. The collection was eventually brought to the Art Institute, fulfilling Harding’s intention to offer his stunning collection of art, arms, and armor to the people of Chicago.
See Harding's collection like never before in Saints & Heroes: Art of Medieval and Renaissance Europe.
10 hours 46 min ago The Art Institute of Chicago CLOSING SUNDAY—Rodney McMillian: a great society
Grappling with the complexities of class, race, and place in America, Rodney McMillian employs elements of performance, public speaking, oral history—and his interest in the science fiction genre—to expose the social and psychological consequences of economic inequality and endemic racism. While his work engages the often stark realities of history and contemporary culture, it is motivated by the potential for alternative realities and future transformation.
13 hours 33 min ago The Art Institute of Chicago "These galleries will make even the saint-averse stop and take notice."
via Chicago Tribune