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Colour and Light - Owen Walsh 1933-2002

Colour and Light - Owen Walsh 1933-2002 published in 2019 can now be ordered here. Email or click on the image below to generate an order email and we will respond to you as soon as possible. Thank you.

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Colour and Light  

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Launch night of the Owen Walsh 1933-2002 “Colour and Light” retrospective exhibition in the Westport Town Hall - 9th May 2019.

"OWEN WALSH belonged to a generation of Irish artists which was scarred – in some cases for life by – its early collision with an alliance of embattled, entrenched and rather untalented conservatives closely associated with the National College of Art in Dublin."

Brian Fallon

"THE ART OF OWEN WALSH reflects a passionate commitment to painting throughout a life. From the early scenes of Westport to the strong, almost abstract colour harmonies of his later work."

Dr. Niamh NicGhabhann

"I remember Owen’s work very well – he had a sold-out show in Brown Thomas in the fifties which was extraordinary, although he probably showed too often at that time and lowered his prices to make sales which was a mistake. There was some good religious art, I liked his loose groupings. He was a fine painter and colourist, hugely influenced by Matisse and the Fauves, maybe too much so. His own soft-edged, fluid style was great."


"Owen set up the Independent Artists with some others. It was one of the most important things he ever did, he believed in it and he showed some of his best work in it."


"I would like to stress how important it is to place Owen Walsh in his time, to record his work, where it is and have it there to be seen, discussed and remembered."


"Underneath the table were stashed portfolios of different sizes, rolled up canvases and an assortment of boxes. On the back of the door hung the wardrobe, trousers, jackets of surprising patterns, collectors’ items as the years went by, shirts, and overcoats. Owen was a natty dresser, his painting trousers were always changed before sortieing into the outside world, a shirt and tie de rigueur. The easel stood back from the right hand window along with the large palette, a pane of paint-encrusted glass on a waist-height stand on which also stood a tall green jug full of brushes."