Exhibition of the week<\/p>\n
Konrad M\u00e4gi Also showing<\/p>\n Fiona Banner aka The Vanity Press Hurvin Anderson Leonora Carrington Rehana Zaman Image of the week Photograph: Courtesy of Lucy McKenzie<\/p>\n A mythologised painting school in Brussels is unlike any other arts education institution in the world. Run by the same family since it was founded in 1892, it has taught aspiring painters the technique of trompe l\u2019oeil. It\u2019s brutal work, the artists say \u2013 so why do people travel from all around the world to master it? Read the full story here<\/a>.<\/p>\n What we learned<\/p>\n A Whitworth exhibition charts how two Japanese masters reinvented art<\/a><\/p>\n Banksy was unmasked (again)<\/a><\/p>\n David Hockney\u2019s opera sets will be showcased at Tate Modern\u2019s Turbine Hall<\/a><\/p>\n Oscar nominated director Yorgos Lanthimos has a sideline in absurdist photography<\/a><\/p>\n Graphic designers took on the Reagan administration during the Aids crisis<\/a><\/p>\n An Oxford museum is disturbing and delighting in the history of botanical adventurers<\/a><\/p>\n A mysterious art school has been keeping a forgotten style alive since 1892<\/a> Ukrainian photographer Arthur Bondar fled Russia with a huge haul of unknown second world war images<\/a><\/p>\n Edvard Munch\u2019s formative influence on Paula Rego was revealed in an unearthed painting<\/a><\/p>\n Masterpiece of the week<\/p>\n The Tempest by Peder Balke, c.1862<\/p>\n Photograph: piemags\/Alamy<\/p>\n A world in black and white is plunged into crisis in this vision of sailors in peril off the coast of 19th-century Norway. It probably wasn\u2019t rare to see a moment like this in the icy northern seas: two boats teeter and totter in roiling waves just off shore, close to savage black rocks, under a sky full of swirling grey where cruel birds hover. But it is not a realist scene. Instead, Balke distils an image of turbulent, unforgiving nature in a way that anticipates the expressionism of Munch: he makes the stormy sea, painted in a bleak subdued palette, what TS Eliot called an \u201cobjective correlative\u201d for his inward state. So this is less a seascape, more a self-portrait as the artist unveils his despair and dread. Sign up to the Art Weekly newsletter<\/p>\n If you don\u2019t already receive our regular roundup of art and design news via email, please sign up here<\/a>.<\/p>\n Get in touch<\/p>\n
You mean you haven\u2019t heard of \u201cEstonia\u2019s greatest modernist painter\u201d? Who knows, this exhibition may put his name in lights.
Dulwich Picture Gallery, London<\/a>, from 24 March to 12 July<\/p>\n
Banner takes conceptual art into the poetic heights with her intense word-pictures.
The Common Guild, Glasgow<\/a>, from 21 March to 25 April<\/p>\n
Lyrical, lovely and nuanced figurative paintings by this artist shortlisted for the 2017 Turner prize.
Tate Britain, London<\/a>, from 26 March to 23 August<\/p>\n
Where better to see this wild surrealist\u2019s work than in the last home of Sigmund Freud, the movement\u2019s unconscious inspiration?
Freud Museum, London<\/a>, from 25 March to 28 June<\/p>\n
Two films that follow seasonal migrant workers through a world of poverty and survival.
Site Gallery, Sheffield<\/a>, until 17 May<\/p>\n
An exhibition in Ghent is celebrating female artists of the baroque<\/a><\/p>\n
National Gallery, London<\/a><\/p>\n