Elizabeth Magill

Elizabeth Magill,
Pieta, 2016,
oil on canvas,
31 x 31 cm / 12.2 x 12.2 in   
Elizabeth Magill, 
Wild Primroses, 2007,
oil on canvas,
20.5 x 20.5 cm / 8.1 x 8.1 in   

Elizabeth Magill , Painted Veil 2017 

oil on canvas 31 x 31 cm / 12.2 x 12.2 in   

Elizabeth Magill, Even on a Reindeer (2) 2016 oil on canvas 31 x 31 cm / 12.2 x 12.2 in  

Elizabeth Magill,
In Two Parts, 2018,
oil and screenprint on canvas,
145 x 110 cm / 57.1 x 43.3 in each  
145 x 225 cm / 57.1 x 88.6 in total 

Elizabeth Magill, Multi-Storey, 2017, oil and silkscreen on canvas, 145 x 185 cm, 57.1 x 72.8 in   

Elizabeth Magill, Still (1), 2017, oil and silkscreen on canvas, 183 x 153 cm / 72 x 60.2 in   

Elizabeth Magill, Return, 2016, oil and collage on canvas, 152.5 x 183 cm / 60 x 72 in  

Elizabeth Magill, Headland (1), 2017, oil and screenprint on canvas, 153 x 183.5 cm / 60.2 x 72.2 in   

Elizabeth Magill, Anterior (1), 2017, oil and screenprint on canvas, 153 x 183 cm / 60.2 x 72 in   

Elizabeth Magill, Of (2), 2017, mono-screenprint and paint on 600gsm Somerset Satin paper, 145 x 185 cm / 57.1 x 72.8 in paper size, 148.5 x 188.5 x 5 cm / 58.5 x 74.2 x 2 in framed

Elizabeth Magill, Still (2), 2017, oil and silkscreen on canvas, 183 x 153 cm / 72 x 60.2 in   

Elizabeth Magill, Descend, 2017, mono screenprint and paint on 600gsm Somerset Satin paper, 145 x 185 cm / 57.1 x 72.8 in paper size, 148.5 x 188.5 cm / 58.5 x 74.2 in framed   

Elizabeth Magill, Sulphur, 2017, mono-screenprint and paint on 600gsm Somerset Satin paper, 139 x 173 cm / 54.7 x 68.1 in paper size, 143 x 176.5 x 5 cm / 56.3 x 69.5 x 2 in framed size

Elizabeth Magill, Only Tune, 2016, oil and charcoal on canvas, 153 x 183 cm / 60.2 x 72 in   

Elizabeth Magill, Betula Pendula, 2012, oil on canvas, 168 x 198 cm

Elizabeth Magill, Dendriform 10, 2012, oil on canvas, 214 x 277cm

Elizabeth Magill, Red Prefecture, 2003, oil on canvas, 167.6 x 198.1 cm  / 66 x 78 in   

Elizabeth Magill, Apart, 2001, oil on canvas, 183 x 213 cm / 72 x 83.9 in

Elizabeth Magill, Site with Blue Tree, 1998, oil on canvas, 152 x 183 cm / 59.8 x 72 in

Elizabeth Magill, Scenic Route 31997, oil on canvas, 152 x 183 cm / 59.8 x 72 in

  • Institute of Contemporary Arts presents Culture Now: Elizabeth Magill

    Audio from a lunchtime conversation with artist Elizabeth Magill and Godfrey Worsdale, Director of the Baltic Centre for Contemporary Art.

b.1959, Canada
Since she began exhibiting in the late-1980s, Elizabeth Magill has developed a highly idiosyncratic approach to painting and printmaking. She is celebrated for her evocative landscapes, which capture atmospheric conditions with great sensitivity: the luminosity of daybreak, or the cool glow of moonlight. The scenes appear to be sited on the edge of urbanity – roofs, streetlamps or telephone wires can occasionally be sighted in the background, but human figures are rare. Instead, clusters of trees dominate Magill’s compositional arrangements, and only through their branches can hedges, hills and radiant skies be glimpsed. At times, Magill’s paintings are layered with visionary elements, and the artist suffuses her work with memory and experience of place, prioritising the expression of her inner reality over accurate representation. She often incorporates photographic materials and processes into her work, starting off with a photographic image on the canvas before applying and scraping away layers of paint until she achieves the desired mood.
Recent solo exhibitions include: Headland, Limerick City Gallery of Art, Limerick, (2017); travelling to Ulster Museum, Belfast, (2018); Royal Hiberniain Academy, Dublin (2018) and New Art Gallery, Walsall, UK, (2019); Green Light Wanes, Towner Gallery & Museum, Eastbourne, UK, (2011) & Kerlin Gallery, Dublin, (2010); Arborescence, Kerlin Gallery, Dublin, Ireland (2006); BALTIC, Milton Keynes Gallery, UK; Gateshead, Glynn Vivian Gallery, Swansea, (both 2005) and Dublin City Gallery The Hugh Lane, Dublin, (2003). Recent group exhibitions include: last day of May, Kerlin Gallery, Dublin, with Stephen McKenna & Merlin James, (2019); Summer Exhibition, Royal Academy of Arts, London, (2019); Legacies: JMW Turner and Contemporary Art Practice, New Art Gallery, UK, (2017); RUA Annual Exhibition, Ulster Museum, Belfast, Northern Ireland, (2017&2016) and Into the Light: The Arts Council – 60 Years Supporting the Arts, Crawford Art Gallery, Cork.
Magill's work is represented in many public and private collections worldwide including those of The Irish Museum of Modern Art; The Hugh Lane Gallery, Dublin; The Arts Council of England; The Arts Council of Northern Ireland; Ulster Museum, Belfast; Southampton City Art Gallery; The British Council and the National Gallery of Australia. She was awarded The Royal Academy Sunny Dupree Award in 2011.
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and the days run away like wild horses over the hills

Scoil Lorcáin, Seapoint, Dublin

31 July - 7 August 2019

Aleana Egan, Hannah Fitz, Samuel Laurence Cunnane, Elizabeth Magill and Kathy Prendergast in and the days run away like wild horses over the hills curated by John O’Donoghue.

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Elizabeth Magill, In Two Parts

12 Star Gallery, Europe House, London

6 - 15 March 2019

A solo exhibition of paintings by Elizabeth Magill.

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Elizabeth Magill, Headland

The New Art Gallery, Walsall, UK

17 October 2018 — 20 January 2019

Solo exhibition.

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Elizabeth Magill, Headland

Ulster Museum, Belfast

11 May – 23 September 2018

Elizabeth Magill Headland presents an exhibition of paintings and works on paper. 

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Elizabeth Magill, Still (dark)

Matt's Gallery, London

24 February – 4 March 2018

Elizabeth Magill solo exhibition showing three recent works – two small paintings and one large hybrid work mounted on aluminium.

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Elizabeth Magill, Headland

Royal Hibernian Academy, Dublin

19 January – 25 February 2018

Solo exhibition of paintings and works on paper. A publication will be produced to accompany this exhibition. 

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Legacies: JMW Turner and contemporary art practice

The New Art Gallery, Walsall

22 September 2017 – 14 January 2018

Exhibition with JMW Turner, Christopher Le Brun, Cornelia Parker, Gerry Fox, Idris Khan, Susan Hiller, Bob and Roberta Smith, John Smith, Elizabeth Magill, Dorothy Cross, Jonathan Wright.

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Elizabeth Magill, Headland

Limerick City Gallery of Art

9 September – 22 October 2017

A major exhibition of new work by Elizabeth Magill.

Opening reception Friday 8th September, 6–8pm. 

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A Certain Kind of Light

Towner Art Gallery, Eastbourne, UK

21 January – 7 May 2017

Kerlin Gallery artists Mark Garry, Elizabeth Magill and Paul Winstanley are included in a major new exhibition at Towner Art Gallery, A Certain Kind Of Light.

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Elizabeth Magill & Jesse Jones in Conversation

Dublin City Gallery The Hugh Lane, Dublin

12 May 2016, 1pm

Elizabeth Magill will appear in conversation with Jesse Jones at the Hugh Lane on Thursday 12 May, 1pm. This event is free to attend, no booking necessary.


The artists will be reflecting on Magill’s works Lodge 2 and Roger and the Swans, included in the current exhibitions Jesse Jones NO MORE FUN AND GAMES and High Treason: Roger Casement.

IMMA Collection: A Decade

Irish Museum of Modern Art, Dublin

28 April 2016 - 8 January 2017

Works by Willie Doherty, Elizabeth Magill and Brian Maguire are among those included in IMMA Collection: A Decade, an exhibition of some of the highlights from IMMA's collection over the past ten years.

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Elizabeth Magill in High Treason: Roger Casement

Dublin City Gallery The Hugh Lane

10 March - 2 October 2016

Work by Elizabeth Magill will be included in High Treason: The Appeal of Roger Casement at The Hugh Lane.

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David Godbold, Elizabeth Magill, Eoin McHugh, Stephen McKenna, amongst others, 'Things go Dark'

The Model, Sligo

3 May - 29 June 2014

Things go Dark presents a visual exploration of the principles of aestheticism through the work of nine contemporary Irish artists. The paintings in this exhibition lure the viewer into a world of beauty, fear, tension, dark comedy and suspense. Working in various pictorial languages these artists invoke an intense emotional response that demands to be put into sensible form, while at the same time overwhelming all attempts to do so. Their work explores the possibility of a space of immediacy, which remains outside the workings of power and history.

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Elizabeth Magill and Paul Winstanley

Under the Greenwood

12 October - 23 November 2013

St. Barbe Museum and Art Gallery

This companion exhibition to our historic trees show looks at how artists working today are still drawing inspiration from trees including Elizabeth Magill and Paul Winstanley amongst others. 

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Elizabeth Magill, Culture Now

ICA, London

June 14 2013

A lunchtime conversation with artist Elizabeth Magill and Godfrey Worsdale, Director of the Baltic Centre for Contemporary Art.

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Elizabeth Magill, Awarded John Moores Painting Prize Visitors' Choice 2012

Walker Art Gallery, Liverpool (part of Liverpool Biennial)

15 September 2012 - 06 January 2013



A large ethereal landscape by Elizabeth Magill is winner of the John Moores Painting Prize Visitors’ Choice 2012, sponsored by Rathbones.

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The Irish Times

Elizabeth Magill and the art of the skeptical inquiry

13 January 2018

From early on [Magill has] been inclined to test the limits of the language of painting, not because she is trying to get beyond those limits and discard painting (though she has worked with video), but because that borderline, on the limits of possibility, is what interests her about it.

She has consistently undercut representational illusion, but also insists on the integrity of the pictorial spaces she creates. As she sees it, she is not trying to create visually accurate representations of particular places, but “to create a setting or space to place things, a kind of deposit of thoughts and observations within the framework of a personal and painting practice.”—Aidan Dunne

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The Irish Times

‘If a painting gets too pretty, drag it across the studio’

11 October 2017

We walk through, past a room of new, smaller works, where Magill is experimenting with ideas and technique. They’re like rich jewels, full of new directions, yet still unmistakeably hers. Picasso’s Les Demoiselles d’Avignon (1907) appears in one, a cottage in the woods in another. She’s layering painting, silkscreen and film, looking at those layers that come between us and the world as it is, between what’s in our minds and out, in life.—Gemma Tipton

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The Visual Artists' News Sheet

Biographical Landscapes

September/October 2017

'I’m preoccupied with the genre of landscape as a way to explore the language of art, the possibilities of painting and ideas around personal biography. For me it seems to offer a space to try to think about the bigger picture and what it means to be a part of this world. The landscape that enters into my work mostly comes from the geographic features around the Glens of Antrim where I grew up. This seems to have provided me with some kind of a visual backdrop. This particular corner of Ireland is scenically quite beautiful but the history there often seems at odds, or in conflict, with this natural beauty. The late, great John Berger, in his last publication, Landscapes: John Berger on Art, wrote: “Sometimes a landscape seems less a setting for the life of its inhabitants than a curtain behind which their struggles, achievements and accidents take place... landmarks are no longer only geographical but also biographical and personal”.'

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RTÉ Arena

"Headland", new works by Elizabeth Magill at the Limerick City Gallery of Art

8 September 2017

Elizabeth Magill's exhibition Headland, Limerick City Galllery of Art reviewed on RTÉ Radio One's Arena.

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