Limerick Plein Air Festival

21/05/2026

This year, we have a new sponsor — Condell The Office Centre.
https://www.theofficecentre.ie
Lovely people — they agreed to support with a special prize for those taking part for the first time.

So if you're still thinking — should I come or not? — just come.
You might actually win something. Winning is nice, but it's just a bonus.
The real treasure I've taken from events like this is people.
New connections that often turn into friendships. Experience. A feeling that you're not alone.
The chat — the craic — something we artists often really miss. We're scattered across fields, hiding in studios, only meeting at plein air events or exhibitions.

And maybe you can't even admit to yourself that you're an artist, and you faint just thinking about it — come, and you'll see there are so many of us. 💛

So come. Don't be scared.
We've all had our first time.

And if you need a bit of help or just want to watch the masters at work, Tony and Des will be there. They'll show you how they do things.

Come along. It'll be good. 💛
,

16/05/2026

13/05/2026

We look forward to welcoming you again for our 2026 Plein Air Competitions, which will take place on the 27th and 28th of June. We are pleased to announce that this year it will be permissible to...

05/05/2026

As artists, it's not just about making things.
It's also about being seen.
Because a piece of work without a viewer is like a conversation that never happened.

And when someone meets it, something real takes place.
Quiet. But very important.

That's why we're so grateful to .ie — both first-place pieces from day one and day two will be framed by them with incredible attention and real craftsmanship. They take care of it beautifully.

All 3 winners from the first day will have their work at LM - Limerick Museum for a whole month.
And all 3 winners from the second day will show theirs in the reception area of Bunratty Castle & Folk Park— a place full of stories, footsteps, and everyday life.

Thank you to the Limerick Museum and Bunratty Castle for making it happen for supporting artists in such a real, no-nonsense way.

It means a lot when the work doesn't end the same day it was made.
When it keeps being seen.

29/04/2026

Dear friends,

I'm happy to share that our generous sponsors are supporting the Limerick Plein Air Festival again this year! 🎨

🏆 Prizes (awarded each day):
— 1st place — €500
— 2nd place — €250
— 3rd place — an easel from ShrubM

Winners will be selected on both days of the festival, so everyone has a chance to shine!

✨ We're also continuing a lovely tradition — a special prize from Condell The Office Centre for first-time participants. A great chance to try plein air for the first time!

🙏 Our sponsors this year:
AIB Bank, Solutions, Printpoint The Framing Centre, The Office Centre, ShrubmArt

We're also open to new partnerships — feel free to get in touch!

We'd love to see you there 💛

22/04/2026

Dear artists and friends,
If you’re not participating in our plein air event this July but would still love to see how everything works behind the scenes, enjoy the creative atmosphere, and meet many wonderful art enthusiasts, we have a special opportunity for you!
We’re looking for 4–5 friendly and responsible volunteers to join us every day of the event to:
– answer questions,
– assist participants when needed,
– help people cross the road (especially near the waterfront),
– and most importantly — be warm and welcoming hosts.
All roles will be clearly explained in advance, so you’ll know exactly what to do and what to expect.
If you’re available that day and would like to help, please fill in the form below to apply.
Your support would mean a lot to us — thank you!

https://docs.google.com/forms/d/e/1FAIpQLSfjsZJ_NzrO2PwcpTahxI4WYbKvXOKOvWCtkJXM588uu7VaWw/viewform?usp=publish-editor

12/04/2026

Tickets: https://karinaguseva.com/product/limerick-pleinair-2026/

Des Downes spent over seven years at DreamWorks SKG as a background and layout artist. Before that, he trained with Annie Guenther — a key figure from the golden age of Disney — in 1989 at Murakami-Wolf in Dublin, working on Teenage Mutant Ninja Turtles.

That was 35 years ago. Since then, he has worked in Germany, Denmark, California, and Ireland, adapting to a wide range of visual styles along the way.

In 2003, he moved to the west of Ireland to make time for his own painting.

“I think I painted my first plein air painting when I was 13 years old,” he says. “My second one was 20 years later.”

It was during his time at DreamWorks — painting outdoors on weekends with colleagues — that he returned to working from life. The west of Ireland, with its shifting light and Atlantic weather, became an ongoing point of reference.

He still moves between both worlds: the constructed clarity of animation and the unpredictability of painting outdoors.

Des has been recognised at Art in the Open in Wexford — one of Europe’s largest plein air gatherings — where his painting Hill St. Blues received a Bronze award.
“I’m proud of that one,” he says, “because it was such a wet, drab day. My palette, the painting and myself were soaked with the rain. Was glad I didn’t give up.”

Last year, he also won first prize at Limerick PleinAir.

He doesn’t wait for perfect conditions.
Rain becomes texture.
Grey becomes atmosphere.

He is open about the unpredictability of the process.

“The great thing about painting outdoors in a single session,” he explains, “is that you can’t really plan ahead. The results are not always successful — but always a surprise.”

What the day will look like

Des will be teaching on 11 July in Limerick city centre — around Bedford Row and Harvey’s Quay.

The group is small (maximum 12 people), allowing time to both observe and work.

A live demonstration — Des paints on site, talking through his decisions as they happen
Time to paint — you work on your own study
Individual feedback — practical and direct
Questions throughout — open and informal

Des has a calm, thoughtful way of teaching. His experience spans both studio production and years of working outdoors, and he approaches teaching in the same way he paints — attentive, responsive, without unnecessary pressure.

What you may notice

Des often begins with a loose block-in — large shapes, thinned paint, broad brushes.
He tends to see a scene not as separate objects, but as relationships between shapes.

Light changes the structure.
On bright days — strong contrasts.
On overcast days — subtle shifts, texture, atmosphere.

He adapts constantly:
opaque or transparent paint, brushes or palette knife — depending on what the situation calls for.

Practical details

Date: 11 July
Location: Bedford Row & Harvey’s Quay, Limerick city centre
Group size: maximum 12 participants

If you’re curious to see how this way of working unfolds in real time, this is a rare chance to do so — in the middle of Limerick, with the river, the streets, and whatever the weather decides to bring.
(с) https://behindtheartist.co.uk/artist-interviews/artist-interview-desmond-downes

11/04/2026

Back at Bunratty Castle & Folk Park, even on a dull day. Still couldn’t resist taking a few more photos — hope they inspire you as much as they inspired me.

10/04/2026

A Landscape Workshop with Tony Robinson at the Limerick PleinAir
Meet the artist who knows everything about plein air painting — because he helped create Europe's largest festival.

In the world of plein air painting, some names are spoken with particular respect. Tony Robinson is one of them. A British artist who has made Ireland his home for decades, he doesn't just paint landscapes outdoors — he has dedicated his life to this way of working. And now, participants of the Limerick Plein Air festival have a unique opportunity to work alongside him: Tony will be teaching a workshop in the beautiful surroundings of Bunratty Castle.

If you've ever heard of Art in the Open in Wexford — Europe's largest plein air festival — you should know that Tony Robinson was one of the people who lit that fire. In 2008, together with a group of like-minded artists, he helped create an event that now attracts painters from all over the world. For over 17 years, Tony has remained the heart and soul of the project.

Tony Robinson is a passionate advocate of the alla prima method (painting "in one sitting"). He doesn't spend hours polishing details — instead, he captures what matters most: the mood, the light, the breath of the wind. His landscapes don't shout; they speak quietly and convincingly. You can feel the hand of someone who knows how to leave out the unnecessary and hold onto the essence.

His work can be found in private collections on both sides of the Atlantic. He has been invited as a guest artist to prestigious American festivals — including Forgotten Coast en Plein Air in Florida and Paint Annapolis in Maryland. He has also served as a judge at major plein air competitions. This is the respect of his peers, and it matters more than any formal diploma.

What awaits you in Bunratty?
A workshop with Tony Robinson at Bunratty Castle is not a lecture — it's a working session. The group is limited to no more than 12 people, so everyone gets real attention.
Here's how it works:

3-hour live demonstration — Tony paints, explaining his process as he goes: how he reads the scene, chooses colours, and captures the light.
You paint — time to work on your own study.
Personal feedback — Tony looks at each participant's work and offers practical, kind, honest advice.
Q&A — ask anything. Nothing is too basic.

Tony is known for his warm, direct, and often witty teaching style. He has a teaching qualification and decades of experience — but he never talks down to you.

What you might focus on:
Working with tone and colour. How to see not "a green tree" but a patch of light and shadow? How to convey depth and space? Tony will help you learn to read the landscape as an artist.

The alla prima technique. Fast, energetic, without the fear of ruining your work. You'll learn how to start a painting, how to "block in" the main masses, and — just as importantly — how to stop before you overwork the piece.

Atmosphere and a sense of place. For Tony, this matters far more than photographic accuracy. He will help you capture that elusive quality — the smell of the air, the play of clouds, the character of Irish light that changes every five minutes.

Why come?
Because learning from the founder of Art in the Open is like taking jazz lessons from the musician who started the jam session. Tony Robinson won't paint for you. But he will show you how to look, how to mix, how not to be afraid of mistakes, and — most importantly — how to truly enjoy working en plein air.

The old walls of Bunratty, the Irish sky that never repeats itself, and a man who has spent decades capturing its mood with a brush. That alone is worth picking up your sketchbox and simply showing up.

Spaces in the group are limited. Tony works in an intimate setting — otherwise, the magic of live connection is lost. If this resonates with you, don't put off your decision.

See you at Limerick Plein Air.
Tickets: https://karinaguseva.com/product/limerick-pleinair-2026/

08/04/2026

Over the years, I’ve tried quite a few plein air pochade boxes and easels, and I often get asked what I actually use in practice—so here’s a short, honest overview.

My main workhorse for several years now has been my large folding pochade box from ShrubmArt It’s incredibly reliable, well-designed, and just feels right when I paint. It gives me enough space to work comfortably, and I never feel limited by it.

The second setup I use a lot is a Chinese version of the Guerrilla Painter pochade box (Guerrilla-style) (bought on Etsy). I’ve also had it for a few years and I’m genuinely very happy with it. What I love most is that it can hold two panels inside, so I don’t need to carry an extra panel carrier. It takes an 18 × 24 cm panel. I use it mostly for small, quick studies (the second photo)

Both of these setups require a tripod, which is usually sold separately. I use an old, quite heavy photographic tripod. I do have a lighter one as well, but I don’t really like it—even though it’s easier to carry, I always end up choosing the more stable option. But that’s very much a personal preference.

I also own a French-style easel (Julian box)—I have a half-box, not a full-size. When I first started, I used it quite a lot. It’s very stable and you can pack all your materials inside, which is great. But for me personally, it’s just too heavy—even the smaller version—so over time I moved away from it.

Another option worth mentioning is U.GO Plein Air easels. They’re lightweight, well-thought-out, and a great solution if you want something more portable.
There are also a few other systems that are worth looking into:

– Strada easels (like Strada Mini / Mark II) — very solid and cleverly designed, especially if you like a separate palette and panel holder setup. Many artists find them more ergonomic for longer sessions.

– Alla Prima Pochade boxes — beautifully made, high-quality, and built to last for years. They’re often mentioned as a premium option that travels well.

– Edge Pro Gear (Paintbook) — very practical “laptop-style” pochade, focused on usability and smart layout. Some artists prefer it over U.GO, depending on workflow.

– Plein Air Pro / Coulter / Leder easels — more modular systems with separate palette shelves and panel holders. They can handle larger formats while still keeping the weight relatively low compared to traditional setups.

And of course, there are always artists who go their own way and use DIY pochade boxes—sometimes made from simple things like a cigar box or small wooden boxes.

In general, modern plein air systems vary a lot, but the key things most artists look for are weight, stability, and how efficiently the system organises your materials.

There are, of course, many other setups—tripod-mounted pochade boxes, magnetic systems, minimalist rigs—but in the end it really comes down to how and where you paint. For me, portability and simplicity matter the most, especially when I’m moving a lot during the day.

If you’re just starting out, don’t overcomplicate it. Try a few options, see what fits your rhythm—and your back 😊

Happy painting!