Exhibition of the week
Daisy Parris
Paintings that dredge eerie emotional depths from sensual layers of abstract colour, with visceral scrawled messages pointing to the sources of their longing. The biggest are the best.
• Carl Freedman Gallery, Margate, until 16 April.
Also showing
After Impressionism
An exhibition that includes Munch, Klimt and Picasso along with heroes of French art from Degas to Matisse can’t fail to fascinate. Read our review.
• National Gallery, London, 25 March to 13 August.
London Original Print Fair
Tracey Emin and David Shrigley show new prints while Rembrandt exhibits older ones, in this festival of the reproduced image from the 15th century to now.
• Somerset House, London, 30 March to 2 April.
Ian Kiaer
New works by this poetic and suggestive, minimal artist that meditate on modern architecture.
• Alison Jacques Gallery, London, until 29 April.
Portraits of Dogs
Artists including Thomas Gainsborough, David Hockney and Leonardo da Vinci portray their furry friends.
• Wallace Collection, London, 29 March to 15 October.
Image of the week
About 650,000 Lego pieces, in 22 colours, comprise this 15-metre-long recreation of Monet’s Water Lilies, which is at the centre of Ai Weiwei’s biggest UK show in eight years, opening next month. The show explores tensions between past and present, hand and machine, precious and worthless – and also includes a sculpture of an iPhone that has been cut out of a jade axe head. Read the full story here.
What we learned
Police found an unknown Jackson Pollock painting worth up to £44m
The Met is reclassifying Russian art as Ukrainian – but not everyone is convinced
Artists are fighting back against AI
Booker winner Ben Okri is swapping his pen for the canvas
The public are socking it to Westminster Abbey’s Cosmati pavement
Gilbert and George are opening a shrine to themselves
A Finnish artist goes undercover at big corporations and creates toe-curlingly awkward situations
Andy Warhol’s lesser-spotted textile designs are getting a rare show
A Sudanese artist named his exhibition after his bill collector
Masterpiece of the week
Camille Pissarro, The Côte des Bœufs at L’Hermitage, 1877
The ideal of the impressionist movement was to see everything instantly, in a glimpse that catches life on the move. But, in this painting, one of the movement’s founders is aiming for something stranger: the opposite of a view. Our vision is blocked by trees like bars across a window. They just appear randomly, as stuff does, getting between us and any sense of an all-encompassing vista. The houses through the trees don’t look that special, even if we could fully see them. Pissarro suggests the world is full of objects, none of them necessarily more important or meaningful than others, in this unmistakably modern painting.
• National Gallery, London
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