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A recorded visit to van Gogh and Britain considers the work of Vincent van Gogh (1853-1890) placed in the context of British art and literature of the 19th century and his effect on succeeding generations of artists.

In a collection of works and artist’s notes, the listener is introduced to the intimate process of landscape painting; from the initial choice of the subject and theme to detail the formation of a work. Oils, watercolors, drawings, and sketchbooks include views of the Sussex Downs, Cornwall, and Dartmoor and abroad in France, Greece, and Southern Spain; with studies of London, Paris, and work from the model, made in live studios.

Forgotten Empire, the new exhibition in London devoted to the great realm that Alexander the Great destroyed, is an openly political occasion, designed to stress links in the present as well as to revive interest in a part of the past that has more or less sunk into oblivion. It stresses the fact that, despite the tensions that now exist between the Islamic Republic of Iran and Western Europe, a degree of cultural cooperation is still possible.

His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist. His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist.

The Tate Britain’s "display", Seeing Africa - it was hardly big enough to be called a proper exhibition - raised more questions than it answered. Consisting of paintings and sculptures drawn from a single private collection, it aimed to explore the subject of Africanisme through images of African people and African landscape made by European painters who traveled to the Dark Continent at the height of the colonial epoch. That is to say between the 1870s and the 1950s.

A viewing room by room of Bill Viola/Michelangelo at the Royal Academy of Arts on Monday March 4, 2019. Encounter the video works by Bill Viola on the theme of life, death, and rebirth and the drawings by Michelangelo from the 1530s to 1560s on religious and spiritual themes.

It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.

A recorded visit to Elizabethan Treasures during the press view at the National Portrait Gallery London. Inspect miniature portraits by Nicholas Hilliard and Isaac Oliver of Sir Walter Raleigh, Sir Francis Frake, Henry Wriothesley and others, and the celebrated icon of Queen Elizabeth I.

Eco-art exhibitions are part of the trend of our times. Radical Nature, the show at the Barbican Art Gallery in London, demonstrated some of the possibilities and paradoxes of enterprises of this sort. Basically what the organizers had to do is to move the outside indoors. This set them both practical and, in their own terms at least, moral problems.

Pablo Gargallo is often described as "Cubist" sculptor, partly thanks to his signature technique of hollowing out or reversing volumes, and partly due to his links with Picasso, one of the two undoubted inventors of cubism. In the strict sense, the idea of cubist sculpture is an oxymoron. Despite its undoubted early links to the African tribal sculptures that partly inspired Picasso’s transition to a new and radical style, cubism was essentially an attempt to find a better and more complete way of representing forms on a flat surface.

One of the commonest and most loosely used terms in any discussion of contemporary art is the word avant-garde. Indeed it often seems to be taken for granted that valid contemporary art and avant-garde art are synonymous.

There is room for a book on this subject, among the vast mass of publications about the visual arts that flow from British and American publishing houses every year. Gay art, from being a quasi-forbidden topic, is now fashionable, not least among would-be up-to-the-minute academics.

The artist Ingres was a supreme bourgeois who also succeeded in being one of the supreme rebels of 19th-century art. Like Caravaggio, his opposite in most respects, he is historically recalcitrant.

The reputation of Cecil Beaton hardly rests on the fact that he was the most prolific and productive of official war photographers both on the home front and abroad during World War II; rather, he is thought of as a royal-society- and celebrity-portrait photographer, designer for stage and film - recipient of three Oscars and a Tony - prolific author, and gossipy and fascinating diarist.

'AIDS art' is essentially an American invention. It has now manifested itself in a large number of different locations, but is almost invariably based on a model of artistic activity that evolved in the United States - one that was a response to the impact made by the epidemic on sections of American society.

The big exhibition of Matisse's Cut-Outs at Tate Modern in London was, certainly on the face of it, everything that a major museum of modern and contemporary art should be doing. It was beautifully presented, very professionally curated, had an extremely thorough, excellently illustrated catalogue, and was greeted with ecstatic reviews.

In Chinese culture, calligraphy is so closely allied to traditional modes of ink-and-brush painting as to be almost indistinguishable from them. There is no definite border between the two art forms, as this exhibition amply demonstrates.

Lucio Fontana is rightly regarded as one of the most important Italian artists active in the 20 years after World War II, important not only in Italy, but in a pan-European sense. It is, however, also important to remember additionally that he was born in Argentina and spent quite important parts of his early career there, working first as an assistant to his father, Luigi, a sculptor, and then independently.

It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.

The magnificent Veronese show that opened at the National Gallery in London in 2014 met with a curiously subdued response from local reviewers. They recognized that it was a magnificent event of its kind, and one that was especially appropriate because the gallery has an important group of works by this 16th-century Venetian painter in its own collection, among them the famous Family of Darius Before Alexander.