Reviews
Hockney gets personal at the National Portrait Gallery
The artist has turned his attention to the same five sitters time and again across his 60-year career, to touching effect
Lost in fantasy at the British Library
This impressive exhibition takes us through the very long history of a literary genre, but overlooks the part played by artists and illustrators
Nicole Eisenman tries to make sense of America
The artist’s smutty and satirical work wittily exposes the harsh realities of the recent past
Conservation targets – Hubert and Jan van Eyck, as we’ve never seen them before
New research and restoration offers fresh insights into the work of the Flemish masters
The budding stars of Irish botanical art
Patricia Butler’s account of 300 years of botanical drawings from Ireland is both a history of art and a history of science
How Finland eventually fell for Impressionism
The movement was slow to find favour in the north, but this gave Finnish artists time to take what they wanted from France
By Lake Lugano, two painters who really saw the light
Giacomo Balla and Piero Dorazio worked nearly 50 years apart, but a dazzling show reveals their shared interest in capturing sensations
How Iannis Xenakis abandoned architecture and remade modern music
The Greek polymath who once worked for Le Corbusier is the subject of an appropriately wide-ranging survey in Athens
Manet and Degas face off at the Met
The different approaches of the two great friends and rivals form a thrilling contrast when seen side by side
The Jewish designers who had success all sewn up
The Museum of London celebrates the designers who turned the capital into a fashion centre while also remembering the people who wore their clothes
The club for unconventional and international women who were ahead of their time
For 80 years, the Women’s International Art Club allowed artists to exhibit work that had yet to find wider acceptance
The Victorians who were drawn to colour
The Ashmolean’s new show vividly demonstrates how strong colours became a mainstay of 19th-century art
What Renoir saw by the sea in Guernsey
Nearly a century and a half after the painter’s trip to the Channel Islands, his paintings of Guernsey can now be compared to the actual views
Brute force – the savage post-war paintings of George Grosz
The artist’s later work is usually regarded as apolitical but, as the Stick Men paintings show, he produced some of his most savage work after the war
This year’s Turner Prize nominees display a weariness with institutions
The shortlisted artists highlight the fragility of the existing order, with the best of them upending what we expect from a show in a gallery
Colour saturation – how the world stopped seeing in black and white
Kirsty Sinclair Dootson shows that a history of colour processes is also a history of shifts in society
Stitches in time – the power of Palestinian embroidery
The history of Palestinian dress is inseparable from that of the nation itself – and now the subject of an invaluable exhibition
Local hero – Joshua Reynolds returns to Plymouth
To mark the painter’s 300th birthday, the Box in Plymouth is staging a thoughtful show that encourages us to look beyond the obvious
Christian Marclay opens the doors of our perception
The artist’s compilation of entrances and exits in the movies takes viewers deep into a labyrinth – and leaves us to find our own way out
Downhill all the way with Isa Genzken
In the Neue Nationalgalerie’s celebration of the sculptor’s 75th birthday, modernity is never what it used to be
How to read books without words
Modern artists have managed to make surprisingly strong statements on blank or partially erased pages
The avant-garde artists who went wild in Paris
Fauvism may have been a short-lived movement, but the explosively colourful compositions of Matisse, Derain and co. remain undimmed
Nocturnal animals – a new Nordic festival journeys into the night
A former pig farm is a meeting place for artists and scientists delving into the mysteries of the dark
Ingres and the endless quest for perfection
The painter was always reluctant to regard his paintings as finished and revisted some of his greatest compositions several times
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