“3?. Arne Ekeland. City Art Centre. Edinburgh
Dissatisfied with his course at the Academy of Art in Oslo. Arne Ekeland (born 1908) left the Academy and taught himself instead. He looked to the Old Masters and especially to the Italian Renaissance giants. Strong
echoesofthisinfluencerecur throughout his work and this exhibition. the first ever
.iiitl tti. trite-Ito.ilesizrttetl M \it RUI‘L‘llI uiiiiiet
0 FRENCH INSTITUTE l 1 l\’.iiitlulpli
.\ 53W». \lwri Ill
('t'exeetit. if ‘L‘llatit Iprii Paris.Les Grands Projectsl mill; .I.iti I’Iiwlii;'i.itili\.ititltlt’.i\\iti::\wl
‘ N'l‘lll.
tIie .ii'eliiteeitii.il l‘ll‘leelx \\ IIIL Il .ite
\Il;l(‘lll‘.2 I’.iii\1titlie UNI» Communication Tomorrow l1 .Itlll .1 .\(‘t'tl. l’itstet L"\Ill ‘llltlll .iliiltiit
I’lt‘llellleIeetlllllllilllieiilltllh llltItI\Il_\.
0 FRUITMARKET GALLERY .7" \I.«.t I\.‘\‘I SUICIDTSR :1\; Ill‘e Nil
Illittti N I‘lptiil Il‘\L'kl\l1IIL\ \lwti
I teetixetleile
IL'I‘. IIilIl;tll\L‘tlIl‘ltll lli ‘lll Itititi I".‘*ftl. I’;tlit'i~\\\mtlx llltll\\‘\llltlll\
\ tinititt teltw\(\‘eti\e IN the
l'e‘lL'l'ellee\ lt‘ttll‘ie‘l Ill\li‘lleill .tl'l liit'iiix .1II\I (iliilim igilit .itiil ‘il\e\ .i \\ILIL' t..ti\.:e it: lll.ll\‘l l.lI\ llillll tyitxetl tit;tt'I‘Ie lll Illtlll\'.ll :l llEe'l.tI Germano Celant:Talkl l'l Minn. tifillpiii. I-t'ee. IIieIl.iIi;rtt.irlertt1e utitl Ieetttt‘et . ( iei lll.tllt\( el.iiit . \\ ill on e it 1.1le till l .ilittik \Kttl'lx .iiitl t'eeetit It;ili;iti art.
Introductory Guided Tourstothe Exhibition Sat :4 .I.1ll I ‘t Il‘lll .iritl \Ved Ix I-eli 3.3llpzii. I‘le'e.
State olthe Art: Related Events In tie
22 't‘hCUAi v
I: lantern
Luciano Fabro: Landscapes l“ Int :5
.73.} I 2; comprehensive survey ofhis paintings. demonstrates how much he has used. absorbed and re—workedthis influence.
Ekeland has re-thoughtthe religious pictures of the Renaissance on his own termszThe BorderVillage (1939) is like a parodyofanAnnunciation; Entrance and Exit (1950). painted in the style of a typical 15th centuryaltarpiece. is made into a human ratherthan a
religious statement: his Primavera. in
lll \\llll {lie \l\ (\ll'l Ixetiewrtt etrtitetiipiriai'i .trt. tlie \tiite ill the .\il (lit-sitttitritit-l. \iiti l I .I.til.
\ 15pm l, the I llllilllitl I\L'l (Lillell. and the .‘\tt \lltlel I lll\l Ilil\ e .iitaHeetI IIle e\Iitlitltiiti til .i Ii.it‘ii.it.i KlllzlL'l litllliimttl pmlet til the ltt\\[j.llt'tIlllIllt'ILIIl.
Sandy NairnezTalkil I'eI‘. 1pm
I tee. Nutitlt \.ittt‘e. '»\lllel iIIItI pitulticet til the \iirri‘irt {In in \\lII XML"tillIIIll\llilIL'tIl.lII\.lI‘l‘lll lite
TurnerWatercolour. National Gallery.
Iii; 3?»;
contrast to Botticelli's. flattens the three graces on the ground. where they lie prostrate. tomb-like amongst the flowers.
Ekeland's theme is the human struggle in its widest sense. His paintings are full of figures. but not portraits. families ratherthan the individual. and his vision is disturbing but accomplished. (Sally Kinnes)
OGALLERY OF MODERN ARTl-lelli \ltlll \tl
Ill;itti 5ptti..\titij “ptti. Rex: {Ill GUIdEdTOUFSf Ill {lie Ill\l \.\ eiittexilr. ill met”; ITII‘IIIII..1I.: Fllptiiltrgela
tlil
Ii’utittl 55rd”: I
ttieitiliet ill the etit.il« ill.tI Veil: \\lII Ie.itI .l Zillll ill the Lille-t; Limitiw tlit‘ee litigitteisivl .iii Ilililll (‘IIIL'\llilll\.lIltI\Il‘w'll‘wll'll‘WHIII‘e' lll\lle‘LI.
Frans Widerbergl lllll \llll 'i 1 Lin. I’.iil ml the \iitueziiati \1itt1ttititti
\i‘iill.ltitl \eltewi! elll\ I’.llltlltt;'~
Edinburgh.
Iitliiiuriplis. \Vtititlettts. eteliingstttitl \Mtlc‘l'eilltltllxlu \Vltlel'l‘el'gi. LIL‘N‘l‘lI‘L‘tI ;t\ \tll’\\tt_\ '\ liltl\l ‘pt'tixtienttxelt .reeiitiipltxlietl painter .llltI :t'apliteatttxt.~
0 GATEWAY EXCHANGE 3. J .-\Iilie\tiititttit.mil [I‘m] \liiti Sat Ill.ttii 5pm.
GlenochilExhibition l.‘~ Milan Setilpttit e. l‘illllllllll .ititl tiitilti~tiietltn wit 'l\ lltllll ( ileriueliil \iititie (IIIL‘lltIel'\ Ill\llllll'\‘
O GRAEME MURRAY GALLERY l5 Seiitlantl Street. Stirilljll I Itl‘ill..\:ll IIItllll Iprii.
I'l‘l
Itte
('Iiixeiltltttttitilaritintt.
0 HANOVER FINEARTS llll l I«IIIH\L'I' \Il‘t‘e‘l. .TSSJ-I‘I'. \ltlll Sill
III.llll ii[‘lll.(lllt'll.\llllI1I)r_'e
‘ 5pm.
Mainly Flowers I:.I;1ll 3 id» \Il\etl L'\IllI‘lllHll 'it L'lllllL'lllllt‘lith (ll'll\l\ llL‘\\ tn the .:;iIIei't . (‘Ill\ L'L'li'llllle\ I‘\ ()irttl Iu’tieli.tti ;lll(l l’etqt' I iielilieml O MALCOLM INNES GALLERY if (re‘tlt'tit‘ Sll'L‘L‘l. .71“ II; I. \Itlll I'll ‘1 :IIAlll tiritti;.\.rt Illillll Ipttt. (ietietul e\IiiIiitinriirl I‘ltli eerilttt't
t‘lI\illltI \\;lIL‘lt‘tlItllIl\I"\ Seiittixli .tl'llxl‘» OMERCURY GALLERY! 1\i»ttlt II.lllI\.\llLL'i. \lllll Ill I'Iillll \ 1llptti.\;il IIIQIlll III'll‘lll. SmallPictureShowl llllIlllItlILlll. I{iilill;tiri..lwlitiIlwiixzi‘ii. Ritli \Iel;tt1r'tti.ttitliitlietx.
0 NATIONAL GALLERY OF SCOTLAND I ie‘XliitititI.*‘HNICI. \liitt Twit IIIillll .‘l‘lll_.\‘.lll: 5pm.
The Vaughan BequestofTurner Watercoloursl llllI xi: 1! .Iilll. t men lIlL‘(‘llllllllellillilleill ltittietkttiirlx.
“ ;:Illl
llteeitlleetiiirtiw! .1\\‘..ileteiiliittt\ Illllll tlie \fitiuliaii I'Ietiiiext tii.il\e .i \tti;ill;ititltiseltilxttiilt ill Ill\\\tlllx met .i Ilk‘lltlll lll llx'tll i_\ .‘lljxeat‘x. Ill‘- lllle'lL'\I lll lli.1\\lllj;ille;l\t‘l li;:ltl .llltI .I_rrl.i\e\1tietit lltllllp.ll‘I\ till..’t\l\lll\ \tipt'etttelt etllllltle'lll Ii.itiilliti_~.:iil petteil. pelt .itiii llllrx. 'l \\.llk'iel 'It‘ill IIll~~l\lI‘ie‘ \(‘Ill.lllllLl.tI\Ilu‘\\lllLil‘l lliei'itlleeltwti; iii.itewtii.iiiee\\tlli the let ll‘i\ttl {lie Ii’etgtresl ll l\ e\ItiIitletI lll. .llItI iitil\ IIl. .I.ltittiit\ it! e\er_\ _'»e‘ill when the IlL‘IlI l\ \ke.lI\e\l .itiil tIie ttxl. iii lmIlllL' I;.i\t. See lIIll\ll.:Iltlll.
RecentAcquisitions IIlle'e\\tllI\\I'_\.
I t.itieiii\ I‘lniiclietwlit I terieli Ix’iieiltittm ll'tiyl li.i\e teeetitl\ liceii I‘itlll‘lll I‘} {lie t Lille-it .\IIillk [xixtiital\eeiiemlaltrielt'witi ll‘lil (if. illlxI tiiiv. Il..ll; m .i flit i. \tlllIL‘lIlIllti lltll lle \L'VutlIIx Illlt.‘II\Ie'tI \\Ilell llie\ \\t'le(‘.tlllletl..l\l\\tlIi.l\e'l\‘ellelll tIll\\lllllllldILIlIIIiIitIIII.1lIl"\\ (litriettxiwtixwt ‘ilie :IIIIKI./ li'ziia'IL'i' /’m.‘~uri'.
0 NATIONAL LIBRARY OF SCOTLAND (le'l‘IL'C Illltls‘e is.“ I”
.\ltlll Iti‘l .‘(tit.;.\.:t
‘l_ Llmitt Illlll
Repatriationl iizil \il I‘I_I.lll. l mm:
illtl. IIIL'
Tlltllll
.tl“\l.'lll ltwi‘.\tir'i (.t illl I .m (\Iiixutie I~l1l~le
lli‘lt\r\elllle.ll In rem .lmiritttto
llillltl\\I\ ll1l\\e’\llIlL‘Il‘ll:’ile‘\llllell\e'illllllll Ilettt\ \ Ill'x le'ltllllltlllllll.til\I\\\‘l\' lillx'e’ll till ti.‘l.itit. Iltu Ii.i\e llil\‘. lieetitelttttieiltwl tIlIlI‘lllLYIldIlL'l Millie-its .\l\iite(\.itti.rtetf.ite tum lll.litll illlkl tittite \e(i.tt.ile ellllt,’ellllll\ l‘l \eiitt lll.lllll\\lll‘l\. tum illl tlt\(il.r\. LeabhraicheanGaidhligl llllI iiilni
“lllttII ’J
I lie eeriltetiieee ill lIll\