Researching Brian Smyth

In January 2000, Smyth exhibited at Lavit gallery with Tom Climent and Martin Finnin. Jo Allen in Circa described Smyth's work as "tastefully hued paintings of photographs of a pretty woman resting were slick and pleasing to the eye. But they seemed to have little to say beyond their cool, ironic stance."

Mark Ewart in The Irish Times said the work of each of the three exhibiting artists was "quite distinctive", Smyth's colours being toned down to the point where they approached monochrome, and that his work, like Climent's, was nostalgic: "The paintings of the reclining female figures are particularly atmospheric, the features seeming to melt into an understated, yet fluidly painted background."

His first solo show took place in November 2001 at the Blue Leaf Gallery, Fairview, of around 25 oil paintings, mostly portraits, using film scenes, his girlfriend, and portraits by artists such as Titian, Klimt and Rembrandt as source material. A concern with tone, light and character created a postmodern style, which he saw as "timeless". In 2008 at the Lavit Gallery, Smyth curated Brian Smyth Selects, and chose five artists who, like him, work in representational painting. The artists were Patrick Cashin, Mary Clancy, Philip Lindey, Stephen Murphy, and Jennifer O’Connor.

At the start of 2012, Smyth moved to Florence, to study at the Angel Academy of Art. There, he developed his drawing and painting skills, working under the tutelage of John Michael Angel and Jered Wosnicki. Working directly from the life model, in a naturalistic style, Smyth's drawings and paintings developed a new level of realism.

Smyth began to paint still life paintings, pushing out the boundaries of his use of colour.

From 2013, Smyth became a student instructor, tutoring other students in Bargue drawings and sight size method cast drawings in charcoal.In September 2014, Smyth became an instructor at the Angel Academy, teaching the life drawing course to new students at the Angel Academy. Smyth's work has been exhibited in Ireland (Lavit Gallery and Buckley Fine Art, Cork, and the Oisin gallery, Dublin), the UK (Red Rag Gallery in Stow on the Wold), and abroad (New York, Chicago and Switzerland).

Born in Batterstown, County Meath, Smyth had his first involvement with Gaelic football and hurling against Boy Scouts from Dublin, who used to come to the local area on weekend camps. He fielded with local club Batterstown in both codes but when the club was unable to muster enough players, he lined out with Flathouse with whom he won a junior championship medal in hurling. He also played both codes with Ratoath before lining out with Oberstown in hurling and Skryne in Gaelic football, helping the latter to five championship victories. He finished his hurling career with Dunboyne.

Smyth made his debut on the inter-county scene when he first linked up with the Meath junior hurling team in 1944. An All-Ireland medal winner in this code, he joined the Meath senior football team for the 1946 championship. Smyth went on to play a key role during a hugely successful era, and won two All-Ireland medals, four Leinster medals and one National League medal. The All-Ireland-winning captain of 1949, Smyth was also an All-Ireland runner-up on two occasions.

Smyth was a member of the Leinster inter-provincial team on a number of occasions, however, he never won a Railway Cup medal. He retired from inter-county football following the conclusion of the 1957 championship.

In retirement from playing, Smyth became involved in team management and administration. His involvement as a trainer was short-lived, however, he guided Drumree to championship success in the junior grade in 1959. Smyth became involved in administrative affairs as a teenager when he took over as secretary of the Batterstown club. He was secretary of the Meath Hurling Board on two occasions, before serving as chairman of the Meath County Board between 1979 and 1985.