Exhibition of the week
Hokusai: Thirty-Six Views of Mount Fuji
Perhaps the most celebrated and charismatic body of work in the history of Japanese art is shown in its entirety.
Dulwich Picture Gallery, London, 20 October to 17 January
Also showing
Pre-Raphaelites: Art and Poetry
The woozy visions of Millais, Rossetti and the rest are profoundly literary, shows this exhibition of the ever-popular Victorian art movement.
Laing Art Gallery, Newcastle, 17 October to 13 February
Michael Landy
Landy’s drawings are painfully and beautifully honest. Here he muses on the nature of ruin.
Soane Museum, London, until 17 January
Middlesex Hospital Blues
Derek Jarman’s Blue and its revolutionary meditation on illness are explored by Tilda Swinton and others.
Fitzrovia Chapel, London, until 18 November
Ancient Landscape, Modern Times
Rolling hills and chalk horses were evocatively depicted in early 20th century British art, this exhibition claims.
Holburne Museum, Bath, until 10 January
Image of the week
Tarek Atoui at the Tate Modern
Tarek Atoui’s entrancing Turbine Hall installation at Tate Modern is an interconnected musical machine you can lose yourself in for hours. The artist teases you and boggles your mind with how his musical instruments relate to the sounds you hear – managing to do something new and beautiful with sound and vision. Read the five-star review.
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Masterpiece of the week Photograph: © The National Gallery, London.
The Virgin and Child in a Landscape, 1520s, by Albert Cornelis and Associates
Behind the melancholic Madonna and lively Christ child in this Renaissance painting is a fantasy version of the city of Bruges in a blue landscape that is nothing like the Flemish city’s actual setting. The city’s towers are depictions of the real towers of Bruges, the medieval powerhouse of industry and commerce where Albert Cornelis worked. But he or a helper have turned Bruges into a twinkling, dreamlike place beside a vast, placid sea inlet, loomed over by huge mountains: an imagined, alluring landscape inspired by the science-fiction utopias of Hieronymus Bosch, as well as the surreal vistas of Joachim Patinir. It may even owe something to the melting blue mountains and seas in Leonardo da Vinci’s altarpieces, for this painting was apparently made for the Italian market and has the name of an early Italian owner on the back. It’s a lovely, little known example of the way 16th-century artists could combine religious imagery with romantic, bizarre musings in their freely painted landscapes.
National Gallery, London
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