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ROBERT STEWART: DESIGN 1945-95 Glasgow School of Art. Glasgow, until Sat 1 Nov 00..
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Textile design, early 1950‘s
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Robert Stewart‘s name is not, perhaps, the first that springs to mind when thinking of post-war British design, thanks in part to his commitment to teaching at Glasgow School of Art, where he held positions from the late 405
to the early 805.
There’s an almost overwhelming wealth of material here, tracing Stewart’s twin careers as educator and commercial designer. The textiles and tapestries are most striking, from patterns produced for Heals that are reminiscent of Lucienne Day, but with a lighter touch and healthy dose of humour, to the jackdaw approach to influences, which range from Renaissance cartoons to African statuary. Later tapestries are no less striking: Genesis (1970), pairs the DNA double-helix with representations of molecular division, and pares down the exuberance of earlier work to a more measured approach.
There are mosaics and murals too, from tiny, delicate ceramic panels to a delightfully fast and loose swimming pool design for a P&O cruise liner. When you add to all this print work for Schweppes and Austin Reed, catalogue design and fashion sketches, Stewart is shown to be an accomplished polymath. The exhibition also does a fine job of revealing Stewart’s gift for teaching, with candid studio snaps showing the designer deep in conversation
with his students alongside examples of their work illustrating his influence.
If the aim of the show is to reclaim Stewart’s place alongside better known contemporaries, it is a resounding success, and anyone with more than a passing interest in design should make their way to the School of Art, post-
haste. (Jack Mottram)
JOHN GREEN FINE ART
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FW HOLROYD GALLERY
9 l l (it‘tll'gc Strch 553 202-1.
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Mixed Exhibition l'niil Sui 30 .-\ug. ()i‘iginiil ncu SL'oltixh ltllltl\L‘thL‘ h} Malcolm Butts iind Aliin Morgan. St Andrews I and II Mun l 'l‘uc 3t) Scp. 'l‘u'o ncu \lgllt‘tl limitcd cdition prints h} (illlltlll .\lcl)oiiiild.
Q HUNTERIAN ART GALLERY l'iiixci‘sit} ol‘(ilii\go\\. 32 llillhciid Strch 330 543]. Mon Siit
0.30am 5pm; Sun 12.30 4.30pm. l-‘oi' moi‘c inl'ormiilion \cc w“\\.\\histlcrllltlficoiu
Anna Whistler - A Life t'niil Sui 4 ()ct. \\'hi\tlcr\ painting of hix mother. slrnmct’nit'nl in (Dry and Blur/t .\'u l is complcmcntcd h) it \[k‘cltll mhihition hiixcd on Pl‘L‘\ ltlllxl) unpublishcd ctiri'cxpoiidcncc iuid tll‘L‘lllHll llltllL‘l'ltll. i‘c\ ciiliiig thc lil‘c hchind thc iconic lllltlgt‘. l’uri u] “illI-AIIUI' 2003'.
Beauty and the Butterfly: Whistler’s Depictions of Women l'ntil Silt 4 ()ct. l’tixtclx.
ctchiiigx iind lithographs llllhll'tllL‘ \\'lti\tlct'\ tlL‘DlL‘lltHh ol‘ \xomcn. ltk‘thlllg on childhood. iidulthood and thc old iigc. I’uri of ll'liixllt'r 2001'. Copper Into Gold: Whistler and 19th Century Printmaking l'ntil ch 24 Du: 'l‘liix cxhihitioii prcxcnlx ctchings iind lithogriiphx h} Whixtlci‘ and his L‘t)lllL‘lllpUl'tll'lL‘\. highlighting Whistlcr'x tichicx ClllL‘lllx ;l\ onc of thc gi‘ciitcxt Lll'll\l-Pl‘llllllltll\Cl'\ ol 1!” timc. I’uri u/ ll'lu'ti/t-r ZUIH.
In Grey and Black l'niil Sui 4 ()ct. \Vhixtlcr'x tumoux piiinlitlg of his mothcr. :trr'unm'nit'ri! in (MW and Black .\'u / comcx to (ilzixgou loi‘ thc lll‘\l timc in o\ ci' 5“ )L‘iii'x. on Ioiin l'rom thc .\lu\cc d‘()r\;i} in l’tll‘lx, I’url HI lilihl/(‘I' 200.“.
1890s Women t'niil Wm! 24 |)cc. lh‘plcllnnx ol- \\olthll l1} \\'lti\llCl"\ L‘UlllL‘lllpUl‘tll‘lL‘\ BL‘tll'tl\lL"\. Mackintole (‘iirlox Sch“;in :ind othcrx lll\pll'ctl h} liintiix}. imiigiiiiition :iiid omholixm. l’uri u/ ll'lii‘sllN 200.“.
Whistler and Scotland t'niil Sui 4 Oct. This c\hihition cxplorcx Whollch pim crl‘ul iiillucncc on thc Scottixh zii't “Ul'ltl during hix lilctimc. l'ciituring thc (iliixgou Bo} PttllllL‘l'\. tlL‘;llL‘l'\ tilltl collcctoi‘x imd includcx \\tll'k\ h) l{.-\ \Vtillon. .lttlllL‘\ (itilhi‘ic. (icorgc llcnr) iind (‘hiirlcs chnic Mackintole I’ur! (if H-IHAI/(I‘ JUUJ'.
The Whistler Collection 'l'lic lluiitcritui'x llllL‘l'lltllltlllttll} iiiipoi'timt \Vhixtlci‘ ('ollcctioii l\ on \lt‘“ lll llL'\\ dixplii}\ lt‘tlllll'lllg‘ Kl) oil p;llllllllj_‘\. lllllltll't‘tl\ ol di‘tm iiigx :uid \\;tlt'lL‘tlltllll'\ and o\ M ltltlt) ctchiiigx :ind lithographs. l’lll'l u/ ll'liixI/t'i SHIN. Lunchtime Lectures l'l‘l 22 tk l'l'l 3‘) Aug. l l.-l$pm. {1.x \xidc ranging \L‘l'lc\ til» tlltl\ll';ilctl lt'cltll't'\ till “'lllfllL‘l’-l‘L‘ltllL'tl lllL'lllt'\. I’ilI'l til ll'linllt-r JUUJ'.
Artists and their Mothers: Study Day Siit 23 .-\ug.
Illiim 4.45pm. £31). .\ dti} ol lull» tllltl giillci') \ l\ll\ ltk‘lhlllg oii \\'|ii\t|ci'\ lkimoux portriut ol lll\ llltllllL‘l‘. ’tir/ u/ ll‘lu’ii/rr 301),".
Whistle-Stop Tours 'l‘ut- 3n .-\ug & 'l‘uc 3 Scp. lpiii. Hull—hour highlight tourx ol' thc lluiitci'iiin'x \Vhixtlci‘ tll\pltl'\\. I’m'i u/ ll'liixi/t’r JUIIA’.
Ten at One Talks mu :7 Aug & \Vcd 3 Scp, lpm. 'l‘cu-mmutc ltllL\ on \clcclcd \\tll'l\\ li'om tlic lluiitci'iiiii'x \thllct‘ tll\[)l£|_\ \. in! u! ll/H\l/(’I 3003'.
Dancing to Whistler’s Tune Sui .‘stl Aug. 3 4pm. \Vhixtlcr'\ lilc tllltl ltlL‘ih is c\plorcd through dgmcc. lllll\l( iiitd \\t\l'tl\ \tiirring c\-princip.il ol Scottixh liiillct. \‘incciit lltlllltllll .iiid niiic tltlllL‘L‘l'\ l'rom 'l'hc Studio in (il;l\3_'tl\\ \ \cht lind. I’m! u/ ll'liixI/t'r Jim}.
Claire Barclay: lde Pursuits it ' a
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Robert Stewart: Design 1946-95 A v'
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Jilli Blackwood: The Joy of Living A ’Tirltililtll'fill of tin,- .'.’ill‘\ wt lilell‘r :iititsl ,lills lilgiri J' «: futiliiiiiit; '.'.’£lli ii.iiit;,w;<,. r ‘f'£t"'i-, {ill to '.'.t:.’ii Ll/lllilllfl. 'lftlli/iil, iiiiiitwl lillHlif), initf. (ill l lll;ll<)if;l‘:l(:’l fiiiii:’.:.ii: (I )
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Lee Bul: The Monster Show I £ll<l‘;l tirziii Elli,- /,.l on; sculptures l), ’1":it"<'tlll‘iil‘f‘fllli! iii ll(:l lllfil fi’:’)l iigl‘ 1min ">7th lllfil)|l‘:’l l), T’ili‘i. tléll)(lli‘.“,‘,' ’,’;"!l’,‘. and tiiiiiiizitioii. tlv; edit/n; futility. ’lllta‘slltlll llli: E’l‘n’lf. nix/luv» Ill I'M.- (.‘HMIIUl‘ of start/it .liir‘), (,‘(J/t, (i/(’1f;{}().'., Mir/i .8} 1'7 95-! 80;,
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'. .' THE LIST 109