Exhibition of the week<\/p>\n
The Bayeux tapestry Also showing<\/p>\n Emma Reyes Jimmy Wright Catherine Murphy Entangled and Woven Image of the week Photograph: Temi Adegbayib<\/p>\n Photography began as a hobby for Temi Adegbayibi after he started photographing his cousin\u2019s band Ezra Collective. But perseverance, confidence, skill and talent has seen the 26-year-old\u2019s work \u2013 which captures the movement, intimacy and joy of performing, particularly in his images of Black musicians \u2013 exhibited at the Royal Albert Hall. The photograph above shows Adegbayibi \u201ctrying to capture the energy of a drum solo\u201d. Read more here<\/a><\/p>\n What we learned<\/p>\n An Egyptian queen\u2019s 673-diamond necklace was stolen in a smash-and-grab raid<\/a><\/p>\n Jackson Pollock\u2019s Blue Poles sparked one of Australia\u2019s most enduring culture wars<\/a><\/p>\n Wilem Frischmann, one of architecture\u2019s most daring engineers, has died aged 95<\/a><\/p>\n The theft of Renaissance art by Messina from a Sicilian museum baffled investigators<\/a><\/p>\n Woo Jin Joo uses London junk to bring a spirit of playfulness to the art world<\/a><\/p>\n The graffiti artist Helch, who has died, left an indelible mark on high-rise Britain<\/a><\/p>\n Visitors to Nostell, in West Yorkshire, will be able to watch cutting-edge research on a rare painting of Thomas More<\/a><\/p>\n Sculptor Maurizio Cattelan, who had his golden loo stolen and $6m banana eaten, is bringing Hitler and a pope to Berlin<\/a><\/p>\n Masterpiece of the week<\/p>\n The Story of David and Goliath by Francesco Pesellino, c 1445-55<\/p>\n Photograph: Andrew Bruce\/\u00a9 The National Gallery, London<\/p>\n This Renaissance painting of conflict was created more than 400 years after the Bayeux tapestry. But for all its greater sophistication and especially its command of the new science of perspective, you can\u2019t really say it is a clearer or more emotionally powerful visual narrative. If anything, Pesellino\u2019s painting is harder to make sense of. Because the Bayeux tapestry tells its tale in a completely linear way, unfolding stage by stage, with no layers of action, it is wonderfully easy to follow. Here, the story\u2019s progress is chaotically clogged with crowd scenes and landscapes in depth. So even though the figures are much more muscled and their faces better drawn, some raw simplicity is lost. At another level, nothing has changed: this is still a medieval artwork from an epoch when horses and battles, castles and armour were the most glamorous themes in art. 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
Blood and thunder, friendship and betrayal, marginal monsters and raw sex \u2013 all human life and more is depicted in this medieval artistic masterpiece that tells an epic national story with unrivalled punch and power.
British Museum, London, from 10 September until 11 July 2027<\/a><\/p>\n
A look back at this Colombian painter who brought the subaltern cultures of the Americas into the mainstream of modern art.
White Cube Mason\u2019s Yard, London, until 3 October<\/a><\/p>\n
There\u2019s an alluring tint of Van Gogh\u2019s Sunflowers to this artist\u2019s recent works.
Thomas Dane Gallery, London, until 1 October<\/a><\/p>\n
Tough no-nonsense realism is taken to the point of surrealism in Murphy\u2019s paintings.
Sadie Coles HQ, London, until 7 November<\/a><\/p>\n
If the Bayeux tapestry makes you wonder how textile art is faring, here\u2019s a show threading that theme from India and Korea to Manchester.
Whitworth, Manchester, until 3 January 2027<\/a><\/p>\n
National Gallery, London<\/a><\/p>\n