Monday, December 11

Golden age inspiration, green neon in Dorset and the raw power of nature – the week in art | art and design


Exhibition of the week

Reframed: The Woman in the Window
Rachel Whiteread, Louise Bourgeois, Cindy Sherman and others reveal how the depiction of women in Dutch golden age paintings has inspired contemporary artists.
Dulwich Picture Gallery, London, 4 May to 4 September

Also showing

Radical Landscapes
Jeremy Deller’s green neon version of the Cerne Abbas giant and Claude Cahun’s island masquerades are among the subversive versions of pastoral here.
TateLiverpool from 5 May.

True to Nature: Open-air Painting in Europe 1780-1870
French impressionism arose out of the tradition of oil sketching in the open air surveyed here, with rapidly painted landscapes by Constable, Corot and others. Partners well with Hockney’s current takeover of the museum.
Fitzwilliam MuseumCambridge, from 3 May to 29 August.

Uncanny … Andreas Gursky’s Salinas, 2021. Photograph: Andreas Gursky, VG Bild-Kunst, Bonn.

Andreas Gurski
The German artist whose uncanny panoramic photographs convey the complexity of modern life shows recent works, including sublime river views.
White Cube BermondseyLondon, from 29 April.

Archipenko and the Italian Avant Garde
This Kyiv-born pioneer of modern sculpture had a powerful influence on the Italian futurists.
Estorick CollectionLondon, from 4 May.

Picture of the week

Top Secret life drawing class
Look away, straight male gaze… a Top Secret life drawing class in Melbourne. Photographer: Katy Marks

Art clubs popping up around Sydney and Melbourne are giving artists the chance to draw trans and queer people, burlesque performers and even models in cosplay. Read the full story here.

What we learned

Black British artist Sonia Boyce won the Golden Lion for best national pavilion at the Venice Biennale

Women outnumber male artists in the biennale’s main halls for the first time

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Justine Kurland sliced ​​and collaged images from books by 150 renowned white male photographers

There are sandbags in Venice for Ukrainian art

Tracey Emin has a new sense of freedom in Margate

It’s pretty clear that Walter Sickert claimed he was Jack the Ripper

Museums have endured through crisis

The National Trust revealed the treasures of Polesden Lacey

A new office scheme for London’s South Bank is a brute

Reclaiming heritage fabrics is sparking a boom in African fashion

Masterpiece of the week

William Hogarth (1697 - 1764), Sarah Malcolm, 1733. Oil on canvas
Photograph: National Gallery of Scotland, bequest of Lady Jane Dundas 1897

Sarah Malcolm, 1733, by William Hogarth
This is not one of the savage satires for which Hogarth is famous, but a sensitive, compassionate portrait of a woman awaiting her death. Sarah Malcolm, a servant, was convicted of murdering her mistress de ella and two other members of the household – but insisted she was innocent. It was a notorious case and Hogarth obtained access to her cell de ella in Newgate prison, where he sketched her two days before she was to be hung. Her eyes of her are sad and pensive, looking away from us as if she is going over her life of her in her thoughts of her. Hogarth seems sympathetic to her in his visual language. He would probably have made her face more brutal if he believed her guilty. She is portrayed as a victim of a dark and labyrinthine justice system whose shadows surround her as it prepares to swallow her up.
National Galleries of ScotlandEdinburgh

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