0 Art Is listed by city llrst then by venue, running in alphabetical order. Please send details not laterthan 10 days belore publication date.

0 ANNAN GALLERY] Iii \th (‘iiiiipIicII Sticct. ill Slix“ x.

\Itill I ii";iiii 5pm Skit”le I: 3H.

( iL‘llL‘lJI I \IIlI‘lIlttll l'tlli\ u‘tlllIlllllttllth.

CART GALLERY& MUSEUM. KELVINGROVEK‘TRIL“). \Itill Sui III;lllI 5pm. Siiii 3 5pm. Resttiiii'tiiit. {I)I \‘iiIiiiit;ii'\ thlltIL‘\ tii‘c ;i\;iiI;iIiIc lice til \‘Iitiiilt' tn c‘iiiitItict parties til IlItIl\ltIIlllI‘\Il‘IlIItIIIIL‘ iii;iiii§;;iIIci'ius. t‘iiiiint't IIIK' L‘Iitltlll_\ IIL“\I\.

As Time Goes By I 'niil ItlL‘ l .\[tlfl

.-\ IILlelILI «Il\[\I.t\ tit IIIIIL‘PIL‘L'L'\UI the

ii;i\l

‘l have painted cows and trees, nudes and angels, apples and skies all my Iile,‘ wrote the Polish-born artist. Henryk Gotlib, ‘and still I am not sure ol their material or real existence. The only thing I am sure ol is the reality ol colour.‘ Gotlib‘s prelerred use ol a ‘blond' palette produced notpastel shades. but rich colours sullused with light, such as the tender pink sky in the painting ‘Three Girls at Lerici’. In many works delicate colours are relreshingly combined with a strong. almost rugged handling ol paint. his drawings are not

30 Tth-ist21Mar 3 Apr

ART & EXHIBITIONS LIST

7th Cleveland(UK) International Drawing Bienniale 1 mil Sun 1.1 .-\pi; 0 THE BURRELL COLLECTION I’iiIIiikin;i\\s anI. III" "15 I

\Iiiii Stit Ill;iiii Filiiifiiiiil 5pm. Rust. [D]

Lace lrom the Burrell Collection I 'iiiil \iiiiiiiici. I he delicate ;iit HI lucmxiii'lx ;i\uiIIccluI It} \Ii Iltiii't‘II. (tilts illltI i’iills. L‘iiIIui‘s tlIItI lupin-ts Illtlll IIL-Igitiiii. I’lltlltt'. It;iI_\ .iiitl Il'L'I.tlltI.

O COLLINS GALLERY I 'iii‘. L-r'xitx «it Sti'utIic'IytIc. I: RIL'IIIIItIlItI Street. SFIIJHII, \Iiiii IVi‘i IIILlllI 5pm. Skit I: Ipiii.

The Decoration ol the Suburban Villa 1880—1940 I 'iitiI I Iitll'\ IT \I;ii‘cIi. When the iiiitItI'Lc cliisws ;it the tiii ii III IIIL' L'L-iitiiis \xgiiiictl III tlc'uii'ntc IIIL‘Il IIHIIIL‘\. LIMllk‘LN .tI'L‘ ,\i'tIiiii'

HENRYK GOTLIB

were

.r. u. -“. f3 ol the dainty variety either—thick, powerlul lines make his nudes seem every bit as solid as the leminine- looking oxen he painted in Italy. Sometimes ligures in a pale landscape receive a splash ol Fauvist colour, like the blood orange laces ol sweaty harvesters in his late watercolour, ‘The Two Women Resting in a Field.‘

From the late lilties, Gotlib‘s colours darkened as his latent Expressionism grew more pronounced, reaching its peak in the Kokoschka style works painted just belore his death in 1966.

-.,.‘ 1 v -- " ~; A.» a" r -. g Q ",L

lSini‘ \\UIII\I II.l\L‘ II.ltI \iiiiit'tliiiixi in

tIti \klIIl it I IL' tiiitI Ill\ tum \i‘ll\ I{\'\ .IIItI I I.iii\ \\L'IL’\I\'\IE'IIL’I\I‘I \MtIIi‘Jl‘L‘l [\lIIu‘llI‘. IllIitIL‘tlllI. milk-ts .tIItI \‘Iiiiit: liii‘IlI\ I IlittlLiIl I‘.I\L‘\I iii IIIL' \l‘ilIIl. fIit'ii \xiii I, um It» In- It'IIlItI lll \tlI‘lll I‘l.t lll‘ iiitf titiu ii the L'ttlllIIl\ . iiipIiitIiiiJ \milluiitI I Ili\ L‘\Iii'iiiiiiiiiil lmpiiintiiicsmiil IllIL‘l'L‘\I liniI» .it IIII,' \\ill I, wt tIip Silwi \tiitIiinIiiiiiis' lI\ \i_‘\.t‘III‘. \q_ii\ iiI tIitltlLNilc :‘li

0 COMPASS GALLERY EN \‘. psi RL'E‘I'III \tim't. riFT'l \Iitll III.,;'I\tllI *Ilii'ii Contemporary Scottish paintings and prints

0 CORNERS GALLERY t. ilI‘\l‘Il ‘x'ivut. _‘\‘~-Iti3\iw \Iiiii I'll" lthiiii \ I‘Il‘lll Sui III.llIl *iiiii.

Rosemary Beatont llIlI t-iitl \tn llit-

Iii IL‘III I‘IllL‘ iiim: til .i l.iiil,i-~\ iii iiit't‘ss

\it

\L‘t‘ltl\.t l.ii pl\ Ililll‘. \ii Riviiii I ) ix. :iitI'Ii w.Yl“

'\.iliwii,iI

I‘llI IIIL'II iii.:I\.qi l\iill_' I<lt\L'IlI.ll\ I‘L‘itwiiuwii ’Iit I)IIIIIttII.(ilIIJ!\.‘~.ilIlILItlI t'tiiiizn-titiiiii.iiidtsmigxi..:itI.t1 t‘;i\Iiiiii/c.iiiti LIipiiiii‘ili' L'ltlllflll\\litlliiI iIi_i: tum ticti I‘IIItItIk'.I\IL'I II isiAIii‘w'ivzi It ‘i III\I\HIli

0 CYRILGERBER FINEART ‘A \\ \IILQI..‘\I “NI \Ii‘wl Ill

“fill iiii * Fili‘iii. \u

I{L'tlt‘IlI

".FIIiii‘. IIFIIy‘ii. HenrikGotlib l890~1966m I \Igii‘ Iii \iii \‘ pi .lII‘

0 FINE ART SOCIETY 1 l I-li'nlixx..~. t: \tia’ttKV‘. I'Iffi. \Ii'n Iii

. a “j .31. If4.1.1"{fin-5:.“9,?“3I'ha')€'LI€;*:‘o=rr?!$§ ' T '8‘“. " “':‘£"""."Z‘*" “ofemjt‘r-si-"we:'

I

This exhibition (Cyril GerberFine Art. Glasgow). thelirstin Scotland iorlE years alter a major retrospective in 1970 atEdinburgh's Gallery olModern Art, covers the second half ol the artist‘slilelrom 1939. When warbroke outGotlib settled permanentlyin England and his young English wile. Janet, became the spiritual and physical inspirationlormany olhis paintings. His serene portrait of her painted in1944 is one olthe most impressive works in this show. (Lucy Ash).

I“!

‘Ifiltiiii 5 Filiiiii. Sat Ill;iiii 1pm. I

Contemporary Scottish Paintings and

19th Century Watercolours 1 mil L‘IILI

\l‘l

0 GLASGOW ARTS CENTRE 13

\\ .iiniiiLitiiii Stit‘ct. .73] «15%.

\I'tli I ll I'Ltllt Illpiii. SJI ;tIItI Siiii *i‘iii.

I llIlllt' L‘\IIlI‘lIlttli\ \\ lII I‘L‘

.llIlIl‘lllIt't‘tI.

0 GLASGOW PRINT STUDIO 1%

Illi‘l iiii Stict‘t . 55,7 Halli. \Iiiii

Nit likiiii * lllpiii.

Prints by UrsulaJacob I 'iitiI I Iltll\ Ill ,\l‘l I’iiii'. StiitIiii Ittl .i \L‘;tl till .ispu'iul

I II\' \u l\‘\ [Lllt‘Iit‘l’ itIIIIL‘tI tIic \.iIiI\itip.iI IIll\t‘\IilI‘lIlttlll\IIIL‘ it'xii't tit IIK‘I \t.ij.

0 GLASGUWSCHUULOFART I\)L‘llIl\'\\ \tim't. “TIT‘V‘ \Ii'l‘. IIiiiixLt l-l.iiii ‘IpiiiIii

It. \tIiiii ItpllI. Sit Ill;iiii iiiitiii. Newberry Gallery: SIULIBIIIEXIIIUIIIOIIIIl‘\IIII.lIIlL‘ItII\;l IItt‘\I-_'I\\IIL‘I\‘\IiItIL'III\IIttIIItlIIIIIL‘ pirIIu't'wil .ii'. iiiM‘mtIniitIIt.i\ctIic ,imnqiiiiiiit lii\\itl'I\ .i\\.i\ liiiiii IIIL' tulle :‘t' I ll\ iiiiii'iieiit I Ill\ l\ .iii \‘\Il1"lIlitll til IIiisi‘iimItic'ltIpimIiit'is. Talkaboutillustralion \I.IL‘I\IIIIH\II

I iifl \IJl.

Iii. I‘Ill.ll‘i ( ii'iiiiwititI.

I t'tfiiic IIILtIIIL' llI'iH]

lIIll\'l.t'itl

0 HAGG'S CASTLE Itt|l\i \iiiIiL-u'x

I)ll\1‘. \Il‘ll \it Ill.iiii 5pitiSiiii

f \i iii.

Mary Queen olScots \

‘w‘IlII i‘t‘lll‘iilllc‘llI «\IiiIiitiiiiitIcsigiiutI

iiiiii .tllI\ liii't'IiiItIieii.

0 HUNTERIAN ART GALLERY

I iii‘xt'iuifl. til ( iItisx'im . I IIIIIic'mI

\tipti. \Itiii Iii

‘IKII tlll Fiiiii. \fit ‘I .III Ipizi

Main Gallery:

Art Nouveaulromthe SilverStudio

1885—1910I ‘iiliI I Illll\:—V\I;tl'L'Il.

I'IIIIIItIt'iI iii Ixxillis x\l'IIIIll Silut

IIII\\IlltIl~I\\ t\ Iliit.iiii\l;ii'ur\t

It‘ll] \Ill

pititiiit'ci til .\lI \iiiiwnii ttwiuiis l‘tli‘

llli tIlI\ \\ IIlt'Il L‘II.lI tlL'IL‘l Inf IIIC st} IL‘

Iltilt'. IS“ IIIL'\lllllttll\.IlllL'Lll .intiiitI iii IIII\ L'\IIIIIIIIt‘II iii tItiiiicstic tituisiiip»

The Mackintosh House Gallery:

IIIIL'H .is (lI‘il\L‘ I‘tlI cliisctl ltii' ItlliL‘II

I I I‘Miiii 1-7.1‘Ipiii. .'\lL'L‘tHHIl'IlL’IIHlI illlIIllL'L‘It'\t‘I\ttI tlictii‘cIiitu‘t‘s Ilt'lllt‘ IIIIL'II \HIII III\ «M ii Illl'lIIIlll'L‘ ilIItItIk‘L'lII'tIILKILIL‘L‘IIIIIIIISII‘IIIL‘ itl'li'lll.tI.

MackintoshMetalworkt mil \uguxi. .\ \L'IL'VIII iliiiI \IttL'lellIii\Il‘\tIL‘\lult\ tilt \TIItIII\IL'L‘IIItiII\L‘IIIIICL‘I\ I iiit'li;tliii;:ili iiiIIi'.iii;:L-iil \I.it‘I~.i;itii\Ii \iI\gi\\;iicpiiit‘c‘iitI} iii lililtill'Ilt'l‘i Iy‘. Mixittiiii .-\l‘L!L'llIL'l'I;t. 0 HUNTERIAN MUSEUM The

I ll\t‘l\lI\ III ( iI.i\_~;li\\. {WSSSS \Iwii Ill‘) ,‘xiltiii 5pm, Skit

'lFtliiii Il‘llI.

I \\ it‘t' ii llllk'~.I \IHIIHII \Iiisuiiiii til IIIL‘ \. txii IIIt,‘ I Illl‘iIL'l i.iii L‘UIIL'L‘IIUII

IIIL'IILkIc‘xiiI‘|L‘L‘I\ l;tll§llllL,‘ Ilt‘lll l. '.il‘t.iiii( «wilds I’tit‘ilit' timisiii'cs in the I)i\‘.ll\t.Ic‘ll \Ii.ii I\.

O IMAGES GALLERY "

3.15111

IIIIii.II;iiitI I\’tititI. \Il\t‘tIL‘\IIII‘III(‘IIHI L‘IL'IIIllLWitlltI piiiitx.

0 J. D. KELLY GALLERY I IS I )titiqus Sti‘t‘t'l._‘»l\i’i‘\\ti \Iiiii Ill

III I'LIIII 5 IIIII'II.SttI

Ill;iiii I_‘.3lliiiii

Kim Redpath t llIlI mi 3" XL”;

0 LILLIE ART GALLERY Stzititiii Road.