Peter and Jan
PRINIS AND PAlNTlNG ANOTHER TIME ANOTHER PLACE Edinburgh Printmakers, until Sat 16 Jul 0000
Four children gather round a kitchen table while one dips a big juicy apple into a mixing bowl of golden syrup. It’s raining outside and the lilac wallpaper offsets their blue jeans and brightly coloured T-shirts. On the table a set of scales and an open tin of syrup indicate the homely activity of this 705 scene - the girls wear pigtails and the boys’ shaggy barnets hang loose. Martin Aitchison was one of the principal artists for Ladybird’s learning-to-read series. A selection of his original gouaches and prints is on show, offering fascinating insights into the practical idealism of this publisher and its golden era.
In one piece, ‘Being Weighed’, a little girl in white pants and vest stands on some mechanical scales while a nurse in a blue uniform checks the reading; Mr Men characters are painted on the wall. It is a functional, ordered, working NHS that shows a world in which children can feel looked after — very ordinary. The realism of the images from the 705 is the overarching tone. In one, boys play up a tree, one is
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black and something about the light suggests early autumn. This was the dawning of the era of right-on values. The scenes’ atmospheres are subtly worked so that there is a freshness, freedom and warmth at the same time. These images are not sentimental, but, by being painted in harmonious hues and capturing moments of action they mirror a secure world that is utterly reassuring for a child. And is why they evoke such feelings of nostalgia for adults.
Images from the 50s, meanwhile, are carefully designed scenes of nuclear family perfection. The colours are bright primary reds, yellows and blues with brilliant greens splashing vivid grass and leaves. Peter and Jane run in their sunny childhood down to the pond where no doubt tadpoles await to be scooped up in a clear jam jar. Post-war rationing and strain are lands to be escaped from and Ladybird books served this escapist need - dreams of better, safer, brighter worlds to come are painted between the hard—back covers. In a corner of the small room a selection of books is there to pick up. They are compact and hard waring - just the right size and material for eager little hands. The publishers hit the note of secure optimism, shifting to anticipate the decades’ needs with deft craftsmanship. (Ruth Hedges)
MEDICAL. EXHIBI r roN THE HEALING TOUCH
MUSIC PERFORMANCE SACRED SELECTIONS: BLACK METAL
Caird Hall, Dundee, Wed 13 Jul
Brutal satanic thrash metal music and the refinement of a formal organ recital may seem like an imposSible pairing. but artist Matt Stokes is not so sure. 'I wanted to connect groups that would never USually come together. and see what came of it. in particular looking at fringe and underground music trends in Dundee.‘ he enthuses. 'And there's a real appetite for metal.‘
The finale to Stokes' series of city wide music events Will feature organ renditions of songs by artists such as Cradle of Filth. Venom and Darkthrone. The pieces. which were specially transcribed to be performed on one of Britain’s largest and loudest symphonic pipe organs in Dundee's Caird Hall. is the culmination of a nearly year-long project with DCA. Historically. the Organ faded out of fashion in Dundee and. as Stokes says of his choice of instrument: 'It was seen as a kind of underground instrument up until the 1800s. and so it really suits this kind of music' Prevrous nights have been sell out successes With organ recitals coupled With Northern Soul and Happy Hardcore.
For Stokes, bringing people together to celebrate music is really the thing that links the historical church locations he used for the recitals and the types of music he adapted for each night. Working With Dundonian operatic societies. rock groups. DJs. folk artists and Tayside organists. producing nights like this has been far from simple. 'lt's pretty hard for an organist to play Happy Hardcore at 2:50 beats per minute.‘ Stokes adds. (lsla LeaverYap)
Scottish National Portrait Gallery, Edinburgh, until Sun 27 Nov
It has oft been remarked that Scots traditionally punch above their weight on the world stage. Now a fascinating exhibition at the Scottish National Portrait Gallery honours the work of Scots pioneers in the history of medicine.
The Healing Touch —- which ceincides With Edinburgh's Royal College of Surgeons' guincentenary — features around 100 works sourced from the National Galleries of Scotland and medical collections from elsewhere in Europe. such as England's Royal College of Surgeons and the Amsterdam Historisch Museum.
As curator Imogen Gibbon reveals. selecting works for the exhibition was both fascinating and challenging. ‘lt was almost an eight month process.' she says. ‘We weren't restricted to any particular area. so there was a huge amount of material to sift through. Also. I didn't iust want to concentrate on portraits of doctors —- there are lots of little stories in the paintings and case exhibits. and there's a definite thematic follow through.‘
The exhibition charts key periods in Scotland's medical history, such as the early 17th century tradition of Scottish students studying in the Netherlands. and the founding of the Edinburgh Royal Infirmary's pre eminent teaching hospital. \Vllltfll led to the rise of world renowned Scots medical luminaries. Scotland‘s current contribution to medical advances is reflected in Ken Curries triple portrait of Ninewells l--lospital's renowned oncology unit (pictured). (Allan Radcliffe)