This year's TEFAF Art Symposium looked at an old but not unproblematic relationship
An early Mondrian hidden among Old Masters; Auerbach's striking self-portrait; and a curious Collector's Cabinet
Personal favourites from Maastricht, including an ancient Egyptian fragment and an unfinished old master painting
Fire at the Battersea Arts Centre; Why 'avant-garde' is a slippery term; and what's wrong with the BBC's Big Painting Challenge
Is it better to throw in your lot with dozens of other Sunday painters than go to art school?
The term 'avant-garde' has shifted meaning from its military roots to the byword for artistic innovation. How should we apply it to art history?
There are fashions in conservation just as in any other aesthetic practice
The iconoclasm of the Islamic State; highlights from TEFAF; the many sides of Paul Durand-Ruel; Britain's top art school graduates; and the latest museum acquisitions
By mid September, the same show will have toured three cities, in three countries, and will have picked up three different titles along the way
The single-artist museum
The imbalance seems historically ingrained. But surely museums could do more to explain it
View Festival of Art History; the Christie's purchase of Collectrium; Mark Scala on Telling Tales
And will traditional art industry divides persist online?
Digby Warde-Aldam explores what London has to offer, from contemporary abstract painting to Sargent's most disquieting portraits
London's love of Victorian art; Gavin Stamp on the Garden Bridge; Matilda Bathurst reports from the Whitworth Art Gallery
Hiroshi Sugimoto on fossils and photos; In praise of postcards; The unlikely success of Fig-2; Five highlights from the Wadsworth; Tàpies in focus
Curator Patricia Hickson selects some personal highlights
Previews from the new February issue: Is the golden age of art schools over? What can be done to protect cultural property in war zones? Does art still have a sense of mystery?
It's not just Paolozzi's mosaics that have come under threat in recent years. Is it time for a public catalogue of such items?
Though it may not be fashionable to say so, a feeling for mystery should be integral to how we look at art
David Ekserdjian discusses the recent announcement
From biplanes to drones, we look at the impact of the aerial viewpoint on modern and contemporary art. Plus, our round-up of this month's major acquisitions
Surveilling surveillance...
BRAFA opens in Brussels; Theaster Gates wins the Artes Mundi Prize; art and craft at the NGCA
TEFAF Treasures
An early Mondrian hidden among Old Masters; Auerbach's striking self-portrait; and a curious Collector's Cabinet
TEFAF Treasures
Personal favourites from Maastricht, including an ancient Egyptian fragment and an unfinished old master painting
The Week’s Muse: 14 March
Fire at the Battersea Arts Centre; Why 'avant-garde' is a slippery term; and what's wrong with the BBC's Big Painting Challenge
The BBC’s Big Painting Challenge is not the publicity British art needs
Is it better to throw in your lot with dozens of other Sunday painters than go to art school?
When was the avant-garde?
The term 'avant-garde' has shifted meaning from its military roots to the byword for artistic innovation. How should we apply it to art history?
The changing state of conservation
There are fashions in conservation just as in any other aesthetic practice
The Week’s Muse: 7 March
The iconoclasm of the Islamic State; highlights from TEFAF; the many sides of Paul Durand-Ruel; Britain's top art school graduates; and the latest museum acquisitions
Paul Durand-Ruel: Gambler, Discoverer or Inventor?
By mid September, the same show will have toured three cities, in three countries, and will have picked up three different titles along the way
Editor’s Letter: The single-artist museum
The single-artist museum
Women artists get a raw deal in historical collections. Will that ever change?
The imbalance seems historically ingrained. But surely museums could do more to explain it
The Week’s Muse: 28 February
View Festival of Art History; the Christie's purchase of Collectrium; Mark Scala on Telling Tales
What does the Christie’s purchase of Collectrium mean for art tech?
And will traditional art industry divides persist online?
London Diary: 22 February
Digby Warde-Aldam explores what London has to offer, from contemporary abstract painting to Sargent's most disquieting portraits
The Week’s Muse: 21 February
London's love of Victorian art; Gavin Stamp on the Garden Bridge; Matilda Bathurst reports from the Whitworth Art Gallery
The Week’s Muse: 14 February
Hiroshi Sugimoto on fossils and photos; In praise of postcards; The unlikely success of Fig-2; Five highlights from the Wadsworth; Tàpies in focus
Five favourites from the Wadsworth Atheneum’s new galleries
Curator Patricia Hickson selects some personal highlights
The Week’s Muse: 7 February
Previews from the new February issue: Is the golden age of art schools over? What can be done to protect cultural property in war zones? Does art still have a sense of mystery?
Comings and goings: Paolozzi and public art
It's not just Paolozzi's mosaics that have come under threat in recent years. Is it time for a public catalogue of such items?
Editor’s Letter: The Art of Mystery
Though it may not be fashionable to say so, a feeling for mystery should be integral to how we look at art
Fitzwilliam Museum attributes two bronzes to Michelangelo
David Ekserdjian discusses the recent announcement
The Week’s Muse: 31 January
From biplanes to drones, we look at the impact of the aerial viewpoint on modern and contemporary art. Plus, our round-up of this month's major acquisitions
Reflecting the network: James Bridle’s recent residency and the rise of drones
Surveilling surveillance...
The Week’s Muse: 24 January
BRAFA opens in Brussels; Theaster Gates wins the Artes Mundi Prize; art and craft at the NGCA