I painted \\I\I k I his is a rare opportunity to see a \c'ILLIIl‘II ot his eraphie “or k. hoth prints.iiitItIiamries


‘i :HIII‘ ‘i‘in.\.ir‘l ‘Ilarii IpiiiSuri

.:[‘II‘. ‘pvii

Bridiel old I eh I"\" \\I)i ( )shoilie

II. ‘.'\ \I.I\i'I IIk praetised niedieineaiid .i\ I r'IlcS Bridie he \xiotem er illplaw.

tr order? the ( r|.rs::o\\( iii/en‘s lIieatre Il".\1\“1ll‘!\‘iN‘\IEIIII\1\S]|I\\.l\l“l]t~

( riiiizi l. anti I .iaiente ( )Ir\ ier ,IltltlITL' his IrietitI IIiistIoirhIeIrle I NETHERBOW 1‘ III:.'II\IIL'\I. *‘ti‘lV‘I \i..v

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\.iI‘\Ie"III.r\I\ Sat Want 1 i'lprii.iritlexeiiiries (.IIL' NeilStewarland Sax Shawt ritiICSIan

\\ 'a-lori's 'w I.r\I iizoiith \e\hrhitine .iII'\7 lI‘xi\I.I‘Ile.ILII.I\\III‘IIII tIIllI‘tllL'Il .t'Ii\I,\.l\ Shun

IOPEN EYE GALLERY "‘I iiiiiI‘erIarid I’I.... "AV ' 11"“ \lori I II Illarii lipni.S.it i" i';. 1‘II‘.

The Artists'ChoiceI ritrIIIiIari I .islieai II:. I In s. I‘. I . 'A IiitiiIit. tied ttt‘atttttel


.i\ isl {I I.

:\ I.ii:.i.r'\ IIii\\ear lIieI )perii \e :‘.III‘.L'.\\t‘III\II.tIIISISIl‘

\. I. .I line i: p. '\i‘lt.tI . Iioiee toi e\IiihiIioii I l. irriit. i\ to ".

ABirdintheHandt IIIII Sh I.ill (eiaiiiies

It i nZIII‘I i'.

"\ seleetetl polletsarid \grtpiow DorothyStirling-Constructionsislan In I\ i.

Gillian Carson and Melanie McClure— Ceramics ‘\ la. In] .‘I\

IPALACE DFHOLYRDDDHDUSE Ielé'én 'i .I.\: II‘Itl'TI attrit‘.

The Highlanders olScotlandI tirit,\piil \\ .i

t.~'z's ‘ii I\. IIIIt'IIl \I.I\I e'.t\.iillt‘ Ii‘IlIiiIIIIL' "K IIII‘L‘ISI‘I IIIL' RUMII \w'wsi‘. \. id. 'I‘.\ .ir‘aia :jleal laxouriteol I In. I'. \ urwia I hioiiehout IIISLJIL'L’I he :aI .oiiiiiiissioris lor liei.

It .i 1th"; rw-zvaitsot IILI hiisharidarid

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I‘M: Ia. Sat III itlaiii .‘llpiii Calurn Colvin I\ I ill I I I eh IIIIS

~‘:' IIIi‘II ".is 'u,


( oli Ii‘. I\ ‘iaek Ii‘. I tIlllI‘tlIL‘II “Hit

[Me i«~'isI\ .n‘». I..r‘.;.ir\. . k ot photographs riiade trorii

s ‘Ii'.‘I'.I' it s. isoi liisomi riiakin; Inliis \t'. ri‘. !\ sir. . esstiil \III‘\\ Iieiet\\IiieI :.i:. \I \\ itti Roiit ) IioriiieIIlIie

it i: \It‘l :ii. .5 lo“ I\ efiaris and LII‘ILIII\II In Is irito I.tI‘iIIi'tI\ . haraeterx Iike Venus. \I .IItI I‘.‘ \e \ It

In I,II‘:' to: .rII workshops II\IL'\I heltm IS \ \S- "II.tI

Intermediate Printing Workshop sun I‘II‘eh " it I'iIIlL‘IIII‘.'I\ trnuagedl. \oai III. I. .II‘LI \\IIIIL’[‘IIIIIIII}.1

t.. tzirta. ‘.\IIII \I.ii\ \lIIII’\L‘IIIIL'tI\

r\ ,pi. :( oI|.';'e and Iaiie BrettIe

Basic Darkroom Technique .‘.I Iatt

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'. "I ‘I‘II‘: 9.1‘ILIIIiiieriiheisaiid iii: ‘..i:'. (II M: iiitiothietion todaikrooiti p:.. the s A'i‘¥(:’:r."(f!i


.‘zi'. swam too‘crn'oiectsgearedto nae ;, aeo he'd-me" Arz' 1989mm! Mar 1990 "10'". 7"." s sc"e"ie sto encourage ' “a? :‘.i:;r:;: stesnec IIC nstaliat:ons "‘1?!"er a'n‘. it"ssts V‘(I(?CS a'idfitm. “are/3's e" "tend to present war-r ma r”, co"tex!arecart2Cu!a'Iy e"ec..=':iged A t1't’)‘t’C°.S"‘...SIIa-\e place n. Scotland (3.. Cetvies now available from The Art Department Scottish Arts Council. fBCharlotte Square Edinburgh EH2 40F

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Scottish Gallery, Edinburgh

The Scottish Gallery could scarcely have chosen three exhibitions of greater contrast than those they have currently on display. All the artists are Scottish, but beyond that they have little in common.

Occupying centre stage, in the main, downstairs gallery, are drawings by the four Scottish Colourists (S. J. Peploe, G. L. Hunter, F. C. B. Cadell and Ferguson); work by Sir David Young Cameron (1865-1945) is in a smaller gallery, and prints and works on paper by painter, theatre designer and performance artist Bruce McLean are in a third.

Cameron and the Colourists represent opposite poles of turn of the century Scottish painting. Cameron‘s world looks ordered and formal and is nearly always, unpeopled. When people are included he shows them in a typical Victorian manner; swamped by a mass of masonry or soaring architecture. He depicts Tewksbury Abbey with tiny figures dwarfed by the splendid and imposing scale of the church. Man. when he appears at all, is humbled into insignificance.

This was not the Colourists view of the world. Theirworld is lull of certainties, and the good, material things of lite. (In the current materialistic climate, itseems,

incidentally, entirely appropriate that it ,

was one of the Colourists who recently broke the record price for a work by a Scottish artist when Peploe's Girl in White sold for £506,000 last December.) They painted fruit and flowers, women in large hats and long

Darkroom I lie dar krooiii IS no“ open to iiieiiiheis tor hlaek and “Itllc‘t‘lltlllllg.

pi int tiiiishriie and IIIUIIIIIIIIL! Iaeilities Iiie Sat Illarii lpriiaridl 5pm I’r’ioi hooking is essential (‘oritaet the

“or ksliop to Irnd otit ho“ to heeoriie a riieriihei and ahout other eoursesarid “or kshops Iield on the premises.

I PORTRAIT GALLERY Queen Street. 55h .S‘III .\Iori Sat Illani 5pm: Sun 3 Spin William Donaldson Clarkt Itittt thlan I’hotoeiaphsot Iddriihur'gh in the ISFIIs. I PRINTMAKERS WORKSHOP GALLERY 23 I’niori Street. 55“ 3-1“) \Iori Sat

Warn 5 .‘Ilpiii.

Chinese Way Prints and Drawings 14

Ian IS I'eh (ilasgtm painter and

pr iiitiiiaker' Bi ian .\Ie( ieoeh spent a neck at the Srehuari I'lltc‘ Art Institute stud} int: traditional(‘hiiiese pétllllllltlIL‘L‘IIIIILIUCS \sith .Iiarig Bi Bo ‘I'hise\hihitiorisho\\s the “ink ot hoth artists toi‘serutin)

I DUEEN'S HALL ( ‘Iei'k Street Bo\ ( )Itiec (ms Stilt). .\Ioii Sat Illarii 5pm. (‘ate Landscapes and Flowers t ‘nrrt Z‘IIari I’;iiritiri;1sh_\.IeanAshcroftaridI’etei‘ Kiririear \\ ho specialises in miniature landscapes

I RIAS I5 Rutlarid Square. 33‘)"3II5_ .\Iori I-iiI) .‘stlarii 5pm.

Scottish Drawings Working Group Errhibition 2-1 Jan-2 Mar. 18th century toprcsent-day drawings h} Scottish architects from the RIASdrauirigs collection.

I RICHARD DEMARCO GALLERY Blacktriars ( ‘Iiurch. Blacklr'iars Street (off IIighStreetl.SSTIITII". .\Iori Sat

Ill .‘Ilarn fipin.

Beth Fisher- The Canopy Series I ‘nril ls .Iaii. Aherdeen hased artist Beth I-‘isher models her Iarnil} into these nioriuriierital painted compositions.


dress, women posing provocatively or standing coyly in a ballet pose. Unlike Cameron, they saw the world in fragments: the shape of a head, the curve of a pear, is what caught their attention and they painted everything with confident definition. It‘s a world full of youth and pleasure, as though they had plucked the choicest plum from the tree and ignored the rest.

It is also a world which, in a way Bruce McLean turns upside down. He depicts the world in terms of its ironies and contradictions. He uses fragments. but he uses them as symbols, not, as the colourists do, fortheir aesthetic properties. His is an unstable world, full of uncertainties and absurdities, like his Pot Head man, who, apparently smokes pot while wearing another pot, a kitchen saucepan, upside down on his head. (Sally Kinnes)

Jim Livingstone —The Dream of the Rood I‘ritil IS'lan,

I ROYAL BOTANIC GARDEN 552 " I I (iai'dcris \Ioii .Sal ‘Iarii sunset Sun

I Iarri sunset. I’larit Iiousesaiid e\hrhitioris I mounted in In\ er Ieith I Ir ruse l .\Iori- Sat Illaiii Fprii; Sun I 1am 5pm Due to t'L‘llH\;IIlUtl of Iri\erleith I louse. there \\ ill he no Itiither e\Iiihitioiis at the Botanic ( iaideri until iie\t seat

I ROYAL MUSEUM OF SCOTLAND ('hariiheis Street. 2.75 "534 Mott Sat Illairi 5pm; Sun _‘ Spin.

(‘oiitact the museum Ioi detailsot their popular liliii arid Ieeture \L'I ies. \\ IIIL Ii has (iist heguri its I‘lli \c';r\till. ASpectacIeofSpectaclest‘niit 15 Ian See I10“ tilhc‘t'S \L'L'

I SCOTTISH CRAFT CENTRE IJII ('aiiongate. 5505130. .\Ion Sat

‘1 .‘illaiii 5 .illprii.

('raltsh} Scottish artists.

I THE SCOTTISH GALLERY VJ ( ieor ee Slice-LIZ.< 5055 Mon I‘ri Illani Iiprri.Sat Illarii- Ipiii.

D.Y. Cameron(1865—1945) t‘nrit I I eh (iit paintings. “itIL’I'L‘UIUllIS aridetehiries Scottish Colouristst'nril I I‘eh I)L‘Il_‘.:IIIItII tII'tt\\IItL!\ tr'orii I’cploe. I’L‘I'L’llsvilt arid the UIIICI'S.

Bruce McLean [um I I~eh. I’rintsaiid \i'orkson paper h_\ this e\tro\ er't Scottish artist \\ Iio paints plates \\ ith as riirieli aplonih as he makes prints. Most teeerilI}. Maclean has further dix ersilied and designed Iahtiloiis sets and costumes tor the Ramhert Dance Company 's ‘Soldat‘ CDTBMICS L'titiI I I'ch. ('er‘amics h\ Iessa \VoIIe-Miirra} . glass h} Liz [on e and Dutch jewellery.

I SCOTTISH MINING MUSEUM I ad} Victoria (’oIlicr} . Newtongrarige. Midlothiaii. {to} 751‘). Inc ~I-ri

Illani J .‘Ilprii;Satt\ Sun rioori 5pm. I)e\oted to the IIISIUI} tiIIttlIlllthlt \Iidlothian. hiiilt on .i IIIIIIIITL‘SIIL‘,

I SCOTTISH RECORD OFFICE \Vest Register IIouse.( Iiailotte Square.

\Iori Irr‘laiii I .‘tlpni

Strange Revolutions- Scotland 1688—89 It .I.tll uritileiid I‘eh

I SCOTTISH STONE AND BRASS RUBDING CENTRE I with ,\pse. ( 'halriiers(‘Iosc. High Street. I diiihiireh \loii Sat

Illarii tipiii

I STEP GALLERY W I Io“ e Street . 55h IIiI.‘ \Ioii Iri Illarii lipiii.Sat

Illaiii 1pm

The Post Graduate School with Elspeth Lamb 14 .‘.S .Ian (lils. pi IllI\ and |‘.I\IL'I\IIUITI post-graduate strideiitsot I’LIIIII‘llIfJII (olleee ot .\rt IIte studeritsare ioiiiedh} .tlll\l and teaeliei I Ispethl .IIIII‘.

I STILLS GALLERY III.‘ I Iieh Street. 55" III” Ittc Sal \oori hprtt PowerPlays—Contemporary Photography from Canada I ~ritil I I I-eh .\ne\hihition or eaiiisetl h_\ Stills \\ Iiieli looks at the art oI photoei aplii as H stands at the moment in I .lII.ItI.t \\ork h\ I \iiiit'oheri. I)oriigari ( irrriiiiriie. I ’ei _\ I Sotii kes aridothets. Open Forum Siiii I5Iaii I -lpiii I'ree. .-\ riiiriiher ot the ( ariathaii photographer's \Ili m in: .it Stills this month \\ iII he at the eaIIeH Iodiseiiss their milk I hey are ioiried In \Iiir r ax .IiiIlIl\illl t I'tIIllI‘lll'LlII (olleee ot \it Ieetiirer l. Ron ( )'I)oiiric|| t I dinhur eh photoer .rpliei l. and \Ieola

\\ Iiitet I IIIItI I ieI eritrei I he discussion \\ ill he ehair ed hi I IaIIa BeIolt I I-dirihurgh l‘rii\eisit\i

I TALBOT RICE ART GALLERY ( )Id ( 'oIIcge. I 'iiii ei'sit} oI I-dirihureh. South Bridge. (ifi'r' llll 1. Mon Sat Illarii 5pm.

Toni Follina—Proiects and Architecture

1965-87I1Ian II I'eh. Irieoriiurictiori

isith the \eri Ii\e|_\ Italian Institute in I-dirihureh. the I'thot Rice presents work hi one or Ital) 'sseriror arehiteets. .-\ haririoiiiser ol great skill. I-ollrna's technique hlerids the eraIt oI hiiiIdirigwith the Ilt\tiit les .ilttI IIatIlItiitts HI at’c‘Ittlc‘L‘lllTL‘

andspeeilieeoriiriiiiriities I'Iiisisthelirst

tiriie I’oIhria's arehiteetui c has heeri seen in Britain and iii the wake oI I’rince ('hailes'\xarriinestoarchitectstoriiake

their uork riioieen\ir‘orirneriIaII} aeceptahle. the Ithot Rice should he

congratulated on its sense ot timing.

I THEATRE WORKSHOP .‘i-l I Iarniltori

I’laee. IND-135

; Photographs— I hated it at Iirst but I Ioveit

now I ‘ritil FI Iaii \\oi k h} Ste\ e I'aiieloiieh.,Ioariria .\IeeI\. Sits.iii\1ttc‘lieII and .\ei| Ridlei

I TORRANCE GALLERY I‘lh I )lllltI.‘t\ Street. <Flirtihti \Ion I‘Il I Iani lipiii;Sat

III FIIaiii Iprii

Recentwatercolours by Marjorie Clark to 3s


I 369 GALLERY .‘I “H on eate. :25 Fill}

\Iori Sat III .‘Ilaiii 5 .‘Ilpni

Paintings by Lucy Ross t not Is .lan I‘oui'th solo shim ot a tonne Seottish painter

Seottish \\ Iialiriu iiidustrt

trained at the Rm .il ( 'oIIeee ol .'\rt. Work hased rriainI_\ on landscape and erixirorinieiit.('iprirsiiieluded.

Alan Watson I 'ritiI .‘SIari. I he herring riidiistr} ot I'ite has inspired \\'atsori for some time I last seen in Fol) ( iaIler \ iri I‘Nil I)iseo\ er in; that one of his arieestois had died stranded on an reelonx it. liile on a \\ II.tIIl‘r}_’ e\peditiori. \Vatson deeided to riiox e on and research the I'IitsislIic \ttI‘leel toi his latest solo \Itii“ , \\ItIL'I‘| later riioies to the Barhiean ( 'eritie in I .oridon.

I 369 Classes .\ llc‘“ teii Meek season starts

thisiiiorithoii ItiIan IlltlsIlIlIgtlllls .\Iaieh I)I.t\\ in}; and pillllllllt: and Iile elasses taken h} 300's resident ai'tistsare a\ ailahle throughout the \\cek. (‘oritact IIIL' L'aIIet‘} Itit tIcI.tII\.

Waverley Taylor Gallery SICUITSIIIIIIIUH Much-153!»

.'\IttlIIIL'l lie“ gallery tor I'dinhur'eh. this l.eith-hased space opens on 33 .Iariuar} \\III1 \xork h} ('harlesStix en.

44’1 he list IR Solariuar‘y