Cordelia Oliver and Andrew Brown pay this dclightfulexhibition a yisit. lt's areal eye-opener to see who chose what.

I PORTRAIT GALLERY Queen Street. 556 8921. Mon—Sat 10am—5pm: Sun Z—Spm. Photographic Gallery In January. the Portrait (iallery opened their first permanent space devoted to photography. Work from photographers working in and from Scotland during the last 50 years have been selected from their collection for the first display. The national collection which is housed at the Portrait Gallery. continues to grow. the most recent gift coming from the lzdinburgh Photographic Society.

Queen's World The exhibition which began at this year‘s Festival has been extended due to public demand. Four new relicsof Mary Queen of Scots have been added to

the display.

New Portrait of Hogg The gallery have recently acquired the finest existing portrait of the Scottish poet. James I logg. known as the 'Iittrick Shepherd’. It is included in a small display in Room 1 of important acquisitions made since 1982. I PRINTMAKERS WORKSHOP GALLERY 23 L'nion Street. 557 2479.31on—Sat “lain-5.30mi].

Liie Drawing 'l'hursdays at 7 9pm. £2 per session or save by buy ing a season ticket. Prints irom Scottish Art Colleges 21 .Ian Jo Feb. Heads of department oithe four Scottish art colleges haye chosen twenty new prints by students and post-graduates. (iood opportunity to buy a print as prices are very reasonable.

I Printmaking Courses 3H and 31 Jan; 27 and 38 Feb. Weekend courses in litching.



Richard Demarco Gallery, Edinburgh Maggi Hambling treats the bull with the same energy she dispenses on a sunset. Large bodies crash into the irame, orange bursts its own idea oi vivid. She is a painter oi attack. Sees a moment and ireeze-irames. Whether searching in the gutter orthe heavens, she goes all out.

Hambling is a restless artist, digging into legend and landscape, society and personality ior her own art. Though her work does not escape tradition and her paint iixed in England, she does demand that they twist and bend to her ideas. She paints a bull in the ring, then a bull killing a man, then a bull eating a man. ‘The Conception oi the Minotaur' takes English breath away.

Hambling draws like an oak. Her line is gnarly and iull oi Iiie. In her painting this expression oi her own personality remains strong. Only in her summer Suiiolk sunrise paintings, a whole wall oi watercolours, do the whorls open out. These paintings seem diiierent irom the rest. Freer with a Northern expression that belies their southern


But until the sunrise and the bulls, Hambling has been involved with people. All kinds. ln ‘Clapham’, a red-scarved lady takes the shopping home, chatting as she goes. in ‘Lebanon' a woman holds her arms up in war position, heriace almost blacked outwith iear. In ‘Red Light District, Barcelona’ prostitutes pose with a iully-clad woman, a mother-iigure. Men saunter past. When painting these people, Hambling takes note at detail and calls question. Why is that woman standing out-oi-place at the end oi the line?

While interest in iiguration continues in Scotland, it is timely to show Maggi Hambling. She may be known to some as painter oi Max Wall ior the National Portrait Gallery, the iirst artist-in-residence at the National Gallery or a TV iace - she joins George Melly on an experts arts quiz occasionally. This exhibition shows Hambling without the paraphernalia, as artist. (Alice Bain)


women in

F O R N I A photograph}

16 January - 13 February


The Scottish Photography Group Gallery 105 High Street, Edinburgh Tue-Sat12—6pm Admission Free


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gallery & artists’ studio is showing


21 January —— 20 February 1988

23 Union Street, Edinburgh EH1 3LR

% "(/1\ H4

Mon to Sat 10am —- 5.30pm Tel: 031 557 2479

by .'"t.‘ S<:ott:sh Arts (Iouricll


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The List 22 Jan - 4 Feb 1988 37