Still life has a long and honourable record in European painting, but the academies pushed it to the lowest rung of the generic ladder.
It bounced back with the Impressionists and the Post-Impressionists, and it was, if you follow a line from Cézanne to Braque and Picasso, the definitive cubist subject. It remains a popular form of representational painting, open to apparently endless reinvention. Just look at Allyson Keehan’s virtuoso Purple Satin in Blue Light, a work of great poise and authority that encourages us to dwell on an expanse of fabric in a calm, almost meditative way.'
Aidan Dunne The Irish Times - Saturday, May 29, 2010