Still lifes and landscapes of France and Scotland are on view in this retrospective of SJ Peploe, the second exhibition in the museum's Scottish Colourist series.

Samuel John Peploe (1871-1935) was the eldest and most successful of the four artists popularly known as The Scottish Colourists, along with FCB Cadell, JD Fergusson and GL Hunter. Peploe is considered by many to be the leader of the group and indeed it was his friendship with the others which bound the four together. Born in Edinburgh, Peploe lived in the Scottish capital all his life, apart from two years spent in Paris between 1910 and 1912.

Most celebrated for his still lifes, Peploe depicted a selection of props, including roses, tulips and coffee pots, placed in an infinite variety of combinations painted in his studio. These are in sharp contrast with the more spontaneous technique with which he created his French and Scottish landscapes, painted en plein air from 1896. At certain periods Peploe also painted figure studies of beauty and significance, including images of his wife and their two sons.

This important exhibition brings together more than 100 of Peploe’s most significant paintings from public and private collections around the world, including highlights such as the 1905 masterpiece, The Coffee Pot, early 1920s work, Red and Pink Roses, Oranges and Fan, and a selection of the original objects used within Peploe’s still life arrangements.

Based on extensive new research, Edith Tudor-Hart: In the Shadow of Tyranny, is the first full presentation of the Austrian-born photographer’s work. The exhibition presents over 80 photographs, many of which have never been shown before, and includes film footage, Tudor-Hart’s scrapbook and a selection of her published stories in books and magazines.

During the 1930s, photography became implicated in the vital political and social questions of the era as never before. The enhanced technological capacities of the camera and faster printing processes offered left-wing political activists new techniques for popular mobilisation. The medium took on a sharper social purpose, breaking down the traditional divisions of culture through its quality of immediacy and capacity for self-representation.

Edith Tudor-Hart was a key exponent of this aesthetic of engagement, with images that show a sophisticated realism, marked by their directness and capacity to communicate issues of inequality and deprivation. In a turbulent decade, she attempted to use the camera as a political weapon, aligning her practice with the wider worker photography movement.

Tudor-Hart’s photography dealt with many of the major social issues of the day, including poverty, unemployment and slum housing. Her imagery is a vital record of the politically-charged atmosphere of inter-war Vienna and Britain during the Great Slump of the 1930s. After 1945, Tudor-Hart concentrated on questions of child welfare, producing some of the most psychologically penetrating imagery of children of her era.

Tudor-Hart’s life story as a photographer is inextricably tied to the great political upheavals of the twentieth century. Born Edith Suschitzky in Vienna in 1908, she grew up in radical Jewish circles in a city ravaged by the impact of the First World War. Her childhood was dominated by social issues in a culture acutely aware of the impact of the Russian Revolution.

After training as a Montessori teacher, she studied photography at the Bauhaus in Dessau and pursued a career as a photojournalist. However, her life was turned upside down in May 1933 when she was arrested whilst working as an agent for the Communist Party of Austria. She escaped long-term imprisonment by marrying an English doctor, Alexander Tudor-Hart, and was exiled to London shortly afterwards. Notoriously, Tudor-Hart continued to combine her practice as a photographer with low-level espionage for the Soviet Union and was pursued by the security services until her death in 1973.

Tudor-Hart’s photography introduced into Britain formal and narrative features that derived from her training on the Continent. Her method initiates a dialogue with those she photographs, very different from the more distancing imagery of the photojournalists. Along with thirty or so German-speaking exile photographers, many of Jewish origin, Tudor-Hart helped transform British photography.

After the Second World War, rejected by Fleet Street and the British establishment, Tudor-Hart turned to documenting issues of child welfare. Her photographs were published in Picture Post and a range of other British magazines. By the late 1950s she had abandoned photography altogether.