Conor Walton (born 1970) is an Irish figurative painter. Walton lives and works in Wicklow, Ireland.[1]
Biography
Walton was born in Ireland and trained at the National College of Art and Design in Dublin and Charles Cecil Studios in Florence, Italy.[2] Walton has been featured in multiple Irish and international solo exhibitions.[3][4]
His commissioned portraits can be found in many public and private collections, including The National Self Portrait Collection of Ireland,[5] The Irish Armed Forces[6] and those of Trinity College and University College, both in Dublin.
His work has also featured on book covers[7][8] and postage stamps in Ireland and abroad.[9]
Work
Walton paints principally from life, eschewing photorealism for more painterly values. While retaining an uncanny realism from a distance, on close examination his mark-making is often gestural and the surface densely worked.[10][11][12][13]
Awards
- Keating McLoughlin and Don Niccolo D'Ardia Caracciolo medal from the Royal Hibernian Academy
- 1993 RDS Taylor Art Award[14]
- 2005 BP Portrait award shortlisted[15][16]
- 2013 Art Renewal Center Still Life winner[17]
- 2014 Art Renewal Center Still Life winner[18]
- ModPortrait 2017[19][20][21]
References
- ↑ Egan, Barry. "'I'd rather be up a mountain than in the museums'". Irish Independent. Retrieved 27 March 2018.
- ↑ "Conor Walton, Irish Painter: Biography, Paintings". Visual-arts-cork.com. Retrieved 27 March 2018.
- ↑ McEvoy, Lorraine. "Conor Walton-Allegories of Painting". Dunamaise Arts. Retrieved 26 September 2017.
- ↑ "NUMU: Still Life Painting Workshop with Conor Walton - Nov. 14th and 15th". Patch.com. 29 September 2015. Retrieved 27 March 2018.
- ↑ "National Self Portrait Collection of Ireland | University of Limerick". ulsites.ul.ie. Retrieved 26 May 2017.
- ↑ Hodson, Tom (2012). Chiefs of Staff The Portrait Collection of the Irish Defence Forces. ISBN 978-1-84588-755-1.
- ↑ "Kinder, Kinder!". Retrieved 26 May 2017.
- ↑ "Was für ein Glück?". Peter Lang. Retrieved 26 May 2017.
- ↑ "Ireland Spain Stamp Issue". An Post. Retrieved 26 May 2017.
- ↑ Seed, John (1 September 2014). "Conor Walton: Contemplating Higher Things". Huffington Post. Retrieved 26 May 2017.
- ↑ Tipton, Gemma. "Ideas for 2016: A year to paint a portrait". The Irish Times. Retrieved 27 March 2018.
- ↑ MacMonagle, Niall. "Black Hole by Conor Walton - Independent.ie". Irish Independent. Retrieved 27 March 2018.
- ↑ Hess, F. Scott (9 November 2015). "Art That Hurts". Huffington Post. Retrieved 27 March 2018.
- ↑ "RDS TAYLOR ART COMPETITION WINNERS 1878 – 2015". Royal Dublin Society. Retrieved 27 March 2018.
- ↑ "BP Portrait Award 2005". National Portrait Gallery. Retrieved 26 May 2017.
- ↑ Kennedy, Maev (14 June 2005). "Painstaking artist wins £25,000 BP Portrait Award". the Guardian. Retrieved 27 March 2018.
- ↑ "2013-2014 Salon: StillLife results". Art Renewal Center. Retrieved 27 March 2018.
- ↑ "2014-2015 Salon: StillLife results". Art Renewal Center. Retrieved 27 March 2018.
- ↑ "Lo mejor de la pintura realista vuelve al IAACC Pablo Serrano | El Digital de Asturias". www.eldigitaldeasturias.com (in European Spanish). 30 May 2018. Retrieved 5 June 2018.
- ↑ Toquero, Alejandro. "El arte figurativo y el retrato pisan con fuerza en el Pablo Serrano". heraldo.es. Retrieved 5 June 2018.
- ↑ "1º Premio - 1st Prize". Concurso de retrato Modportrait (in European Spanish). Retrieved 5 June 2018.
Further reading
- Joseph Bravo, The Bread and Butter Paintings of Conor Walton, JosephMBravo.com, 5 November 2017
- James Waller, Conor Walton: Pessimism, Painting and the Incandescent Spark, West Cork Review, 5 February 2017
- "It's a Great Time to be a Cultural Pessimist", Interview with Conor Walton, Penduline Press, 15 June 2013
- Andres Orlowski, Access to Incandescence: The Paintings of Conor Walton, Combustus Magazine 23 May 2014
- John Seed, Conor Walton: Contemplating Higher Things, The Huffington Post, 1 September 2014
- Niall MacMonagle, Black Hole by Conor Walton, The Irish Independent, 25 November 2013
- Jane Humphries, Elements, Irish Arts Review, Winter 2012, pp. 76–77