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The Guardian - UK
The Guardian - UK
Jonathan Jones

A feminist fightback, exploring the fourth dimension and a Greek odyssey – the week in art

Jill Posener, Fiat ad, London, 1979.
Jill Posener, Fiat ad, London, 1979. Photograph: Courtesy of the artist

Exhibition of the week

Women in Revolt! Art, Activism and the Women’s Movement 1970–1990
Survey of feminist art and protest with Ingrid Pollard, Mary Kelly and more.
Tate Britain, London, 8 November-7 April

Also showing

Gemma Anderson-Tempini – And She Built a Crooked House
An Artangel installation in a spooky old Victorian house that explores the idea of time as a “fourth dimension”.
Burton Grange, Leeds, until 28 January

Superb Line – prints and drawings from Genoa 1500–1800
Drawings from Renaissance and baroque Genoa including the mannerist genius of Perino del Vaga.
British Museum, London, until 1 April

El Anatsui: TimeSpace
Smaller than the Ghanaian sculptor’s magnificent installation in Tate Modern, these glittering works find beauty in scrap.
October Gallery, London, until 13 January

John Craxton: A Modern Odyssey
Visions of sun, sea and sex by this British artist who loved Greece.
Pallant House Gallery, Chichester, until 21 April

Image of the week

Sam Bankman-Fried by Jane Rosenberg.
Sam Bankman-Fried by Jane Rosenberg, clockwise from top left, from 22 August to 28 October. Composite: Jane Rosenberg/Reuters

These four portraits are of one man, cryptocurrency fraudster Sam Bankman-Fried, drawn by one courtroom sketch artist, Jane Rosenberg. A sketch artist for over 40 years, Rosenberg found Bankman-Fried’s face “unusual” and tried to document his shape-shifting appearance while “trying over and over” to capture his likeness as the trial progressed, resulting in everything from a buff angry man to a meek young victim.

What we learned

An Australian cow paddock now has a $174m Monet

Hockney’s new life drawings boom with energy and hope

Halloween is extra creepy on the New York subway

… and it’s terrifying in paintings too

Michelangelo’s doodles on the wall of a Florence cellar are going on show for the first time

There’s a lot more to Klimt’s The Kiss than we thought

The pursuit of beauty drives us to strange extremes

How a Spanish biologist discovered a lost masterpiece by Géricault

The Caribbean art of seed work risks being lost

Masterpiece of the week

The Comte d’Espagnac by Élisabeth Louise Vigée Le Brun, 1786

Élisabeth Louise Vigée Le Brun, The comte d’Espagnac, 1786 © The Trustees of the Wallace Collection

This 10-year-old boy has the long wild hair of a budding romantic, painted in the age when France was excited about Jean-Jacques Rousseau’s writings and the cult of nature they celebrated. Vigée Le Brun is a painter of naturalness, freedom and spontaneity. This lad has the same smiling optimism as her Self-Portrait in a Straw Hat in the National Gallery; she would also portray Emma Hamilton wildly bashing a tambourine. But the energy and experiment of this artist were out of tune with her time. Both she and her sitter the young comte d’Espagnac would soon be fleeing France, for they were part of the “frivolous” upper class condemned by the French Revolution.
Wallace Collection

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