Lynette Yiadom-Boakye’s Enigmatic Figures, Sensational Seeds, and a Heavyweight Four-Way Showdown: The Week in the Art | Art and Design

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exhibition of the week

Lynette Yiadom-Best of Lynette
Impeccable and fascinating paintings that create mystery and leave you haunted, like the covers of unwritten novels.
Tate Britain, London, until February 26.

also showing

The Colony Room I, 1962, by Michael Andrews.
The Colony Room I, 1962, by Michael Andrews. Photograph: The Michael Andrews/Tate Estate Photo: Mike Bruce Courtesy of Gagosian

friends and relationships
Four great painters – Francis Bacon, Frank Auerbach, Lucian Freud and Michael Andrews – compete with each other to paint the unvarnished truth.
Gagosian Grosvenor Hill, London, until January 28.

Tony Swain: Desert View
Part collage, part painting, Swain’s art has a seedy, dilapidated grandeur.
Modern Institute, Glasgow, until January 14.

No Name by Davinia-Ann Robinson at Fugitive Seeds.
No Name by Davinia-Ann Robinson at Fugitive Seeds. Photography: Paola Bernardelli

Runaway Seeds
Colonial Botanical Symbolism is revealed by Larry Achiampong and David Blandy, Minji Choi and more.
CCA, Derry, until December 21.

Artists making books: from poetry to politics
Books by artists and bibliophile interventions from the contemporary Middle East, including Kareem Risan’s meditation on an explosion in Baghdad.
British Museum, London, until September 17.

picture of the Week

A water-damaged scanned print of Parr's original 1991 shoot.
Acropolis now… a water damaged scan print of Parr’s original 1991 shoot. Photography: Martin Parr/Magnum Photos

Martin Parr visited Athens in 1991. Copies of his session there became water damaged and he has now digitally scanned them to produce a series he has called Acropolis Now. “At first I panicked when I realized my prints had been damaged by a leak in my office,” says Parr. “However, I thought, these look interesting. In fact, to be brutally honest, they were better than the originals.” See the gallery here.

what we learned

Art has approached football

Architect Daniel Libeskind joined the fight to save Kurt Schwitters’ Merz Barn in Cumbria

John Betjeman’s campaign to save Liverpool Street station in London is renewed

A convoy of Ukrainian modern art makes a daring trip to Madrid

A new exhibition captures the early paradise of Sussex

British-Kenyan artist Grace Ndiritu’s invitation to ‘shamanic journeys’ has won Jarman Award

An artist is campaigning to change the name of a mountain

The Parthenon has been created in dazzling colors.

Zanele Muholi is rewriting South Africa’s visual queer and trans black history

The Surrealists would have made a fun fantasy football team.

An artificial intelligence believes that a disputed portrait is probably a Renoir

masterpiece of the week

Andrea del Verrocchio Head of a Woman c.  1475
Photograph: © The Trustees of the British Museum

Head of a woman, c 1475, by andrea del verrocchio
Looking at this delicate vision of a young woman, it is easy to guess that Verrocchio was Leonardo da Vinci’s teacher. The intricacy of his hairstyle was still resonating in Leonardo’s art in the early 16th century when he drew similarly intertwined locks in his sketches of Leda and the Swan. There is also a realism in Verrocchio’s drawing that has much in common with Leonardo’s youthful portrait of Ginevra de’ Benci, which was done about the same time as this study: while at first glance it is easy to call Verrocchio’s portrait ” idealized”, actually colors his features with a fleshy truthfulness, and alludes to the inner life. This is reminiscent of Botticelli, who was also beginning to represent women with intense poetry at this time. In short, it is a jewel of Florentine Renaissance art and its worship of women.
British Museum, London

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