Chára Nagle
T: +353 (0)1 2305060

Chára is considered as one of the most exciting and accomplished portrait artists, a reputation she’s garnered through her natural and seemingly effortless technical ability. Her compositions are full of colour, energy and emotion and she combines a classical naturalist realism of form and proportion with a romantic celebration of colour, life and nature.

Chára has been fine tuning her artistic skills over the last two decades and her genre of style is described as hyperrealism, a photorealistic rendering of the subject matter which brings her paintings to life.

When asked to define her style, Chára uses just two descriptors – bold and beautiful. The truth is the artist has developed a new aesthetic of romantic realism formulated and mastered from the greatest artists of the Renaissance, Baroque, Romantic and Impressionist periods of art. it.

The essence of her work reflects a deep understanding of a moment in time. Whether it is the split second before a couple’s first kiss or the moment when the stallion, Teofilo, steps into to the light standing stoically in all of his natural glory, the artist has captured and painted it.


Chára’s latest collection features contemporary equestrian art in which she reflects the elegance and strength of the horses and racing characters she portrays. She is one of Ireland’s finest and most recognised equestrian artists and her exclusive work which ranges in size from 10 to 1 foot hangs in homes across the world. Such is the impact of her work that she has acquired a loyal, diverse and growing band of collectors.

Chára’s latest exhibition ‘Starter’s Orders’ will showcase in The Warren Gallery in Castletownshend from July 26th to August 31st. The exhibition, which will feature a total of 11 breath-taking pieces, will be officially opened by Paul Shanahan, who is described as the “eyes and ears” of leading thoroughbred stud owner John Magnier of Coolmore.

With unrivalled skill and genius, the artist’s new collection once again defies all traditions of equine pictorial representation by making the horse itself form the dominant subject of her canvas. The artist has redefined the meaning of the word ‘portrait’ in the genre of equine portraiture – the horse is more important than the humans or the landscape that surrounds it.