We hear a good deal about the glass ceiling these days, but spare a thought for the trail-blazing career woman in 1923 when (in Irish art circles) any gender would do as long as it was male, any art as long as it was traditional.
Mainie Jellett had arrived home in Ireland eager to spread the word of the revolutionary modernism she’d discovered in Paris, but came up against what Brian Fallon memorably described as “stagnant...
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