Exhibition of the week
Grayson Perry: Smash Hits
A retrospective of the eloquent artist’s works in clay, textiles, printmaking and more.
• National, Royal Scottish Academy, Edinburgh, 22 July-12 November.
Also showing
Sarah Staton
A sculpture of a chicken and egg by the SupaStore creator launches what claims to be London’s tiniest sculpture garden.
• Dancing in the Shadow of Henry, Camberwell, London, ongoing.
Gary Simmons: This Must Be the Place
New paintings and sculpture that protest against the erasure of Black Americans by literally wiping out imagery in an elusive blur.
• Hauser & Wirth, London, until 29 July.
Diane Dal-pra: Dissolutions
Real yet unreal, eerily cool and photographic paintings by this French artist.
• Mostyn, Llandudno, until 7 October.
Lawrence Abu Hamdan: 45th Parallel
A film installation about borders and the spaces between nation states by this Turner prize-winning “private ear”.
• Talbot Rice Gallery, Edinburgh, until 30 September.
Image of the week
A mystery painting found to be “undoubtedly” by Raphael is to go on display for the first time in Bradford. The de Brécy Tondo has been the subject of research and debate for more than 40 years due to its resemblance to Raphael’s Sistine Madonna. Recent analysis using artificial intelligence-assisted, computer-based facial recognition showed the faces in the painting were identical to those in Raphael’s famous altarpiece. Read the full story.
What we learned
The National Gallery recast a painting that Paula Rego created for its restaurant
Agnès Varda’s photography revealed her talent long before her films
Martin O’Brien turns pain into art
Designer Luella Bartley found comfort in art after a great loss
An aid truck covered in art paints a brighter future for Pakistan
Two shows at New-York Historical Society consider women’s work and homoerotic ads
An artist photographed her 12,795 possessions and had an epiphany
The National Trust has finally completed a 24-year restoration
Masterpiece of the week
A Fortune Teller at Venice by Pietro Longhi, about 1756
It’s carnival time in Venice, and masked revellers mingle in this listless crowd of pleasure seekers and the curious. One man in a sinister white mask under his black hat eavesdrops as a young woman has her palm read. Is he a lover or would-be lover? He seems old, conniving, unreliable – but that may just be his mask. In the background a woman with a black mask over her face is in conversation with a respectable bewigged man in officious robes. It might be a sexual transaction, since it was reported by an English visitor that Venetian courtesans went around in such masks. Pietro Longhi observes Venetian society in a way that’s comparable with his London contemporary William Hogarth, yet while the English artist is savagely satirical, this painting does not seem to judge.
• National Gallery, London.
Don’t forget
To follow us on Twitter: @GdnArtandDesign.
Sign up to the Art Weekly newsletter
If you don’t already receive our regular roundup of art and design news via email, please sign up here.
Get in Touch
If you have any questions or comments about any of our newsletters please email newsletters@theguardian.com
