“Susanna and the Elders” (c. 1638–39) had been misattributed and stowed away in rough condition at the Hampton Court Palace in Surrey.
The Exeter Cathedral has a 16th-century door fashioned with a circular hole for pest control cats. But is it the oldest? We asked the experts.
Gwen John: Art and Life in London and Paris shows the nature of her dogged opposition: how she fought back, and won, in her own way.
The exhibition Dear Earth elucidates a broad range of issues around climate change, but stops disappointingly short of a radical call to action.
What began as a simple project to honor two historic water towers in Goole with a salt-and-pepper shaker set quickly divided locals, who can’t agree on which building represents which condiment.
A show at the Barbican Art Gallery reveals the importance of considering the politics of display when it comes to an artist who consistently implores us to do so.
What of Saint Francis, that selfless feeder of the birds and the animals? Does he not deserve to be remembered benignly?
A little like dogs themselves, Portraits of Dogs at the Wallace Collection is a complimentary companion piece to the human story.
Welcome to Alchemy, in which artists with famous names mix strange substances together with outcomes of variable interest.
Two London shows highlight the influences of music and architecture on sculptor Anthony Caro’s work. The latter is more successful than the former.
Here they are at the National Gallery, almost all at once, all those modern artists we came here to see, those we have come here to report having seen later.
The tales in the Thamesmead Codex are melded, mashed up, meshed together fragments of the many human stories told to artist Bob and Roberta Smith.