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Eugène Delacroix (1798-1863)

A colossal retrospective at the Louvre liberates the French romantic from his early history painting and reaffirms his lofty place in the pantheon

Eugène Delacroix. Self-Portrait with Green Vest, c1837 (detail). Musée du Louvre, Paris © RMN-Grand Palais (musée du Louvre), Michel Urtado.
Celia Pym in her studio, 2018. Photograph: Janet McKenzie.
Describing herself as ‘an artist who works in textiles’ Pym talks about her recent surgery for mending at the V&A, why she mends old clothes and artefacts, and why she feels it is so important to see the damage and the repair.
Fergus McCaffrey.
Since founding his New York gallery in 2006, Fergus McCaffrey has been instrumental in introducing postwar Japanese art to a western audience. He talks about his deep attachment to Japanese art and craft and his hopes for his new gallery in the heart of Tokyo.
Bedwyr Williams. Tyrrau Mawr, 2016. © Bedwyr Williams. Courtesy of the artist.
The Hayward Gallery’s group show suggests future survival will demand that humans adjust to changing circumstances rather than adapting the environment to maintain their current mode of living.
Stanley Whitney: Paintings. Installation view, Galerie Nordenhake, 2018. Courtesy the artist and Galerie Nordenhake Berlin / Stockholm. Photograph: Gerhard Kassner.
Painting is back, and Berlin’s Gallery Weekend proved a great opportunity to survey its return.
Casey Kaplan's booth at the Dallas Art Fair which featured works by Giorgio Griffa and Matthew Ronay.  Photograph: Daniel Driensky.
The 10th edition of the major art showcase was an affirmation of the city’s commitment to visual culture.
Paul Maheke. Seeking After the Fully Grown Dancer *deep within* (2016). Blackwood Gallery, Toronto, 2017. Courtesy of the artist. Photograph: Henry Chan.
Through installation, sound, film and dance, Paul Maheke's work explores gender and racial stereotypes, articulating the restrictions placed around black, male and queer identities. For his first major solo show, at the Chisenhale Gallery, he has stepped out of the central performing role and brought in three female artists to expand this dialogue. He talks about the origins and expression of the resulting work, A Fire Circle for a Public Hearing.
Joan Jonas. They Come to Us without a Word II, 2015. Performance at Teatro Piccolo Arsenale, Venice, Italy, 2015. Photo by Moira Ricci. © 2018 Joan Jonas : Artists Rights Society (ARS), New York : DACS, London.
Joan Jonas talks about her multidisciplinary installation works currently on show at Tate Modern and the live performances undertaken for the 2018 Tate Live Exhibition: Ten Days Six Nights programme.
Earrings made from heads of Red Legged Honeycreeper birds, c1875. © Victorian and Albert Museum, London.
As environmental changes affect more areas of the world, our lifestyles need to be more sustainable. Looking back over 400 years of fashion history, Fashioned from Nature asks what humans have done wrong and how we can innovate to improve.
Nancy Fouts. Foosball Madonna Table, 2016. Wood and oil paint, 71 x 90 x 48 cm. © Nancy Fouts, Courtesy of Flowers Gallery.
Nancy Fouts brings her trademark baroque theatricality, dada mischief and love of a good pun to Flowers Gallery in London with a decade’s worth of visual treats.
David Hockney. Tall Dutch Trees After Hobbema (Useful Knowledge), 2017. Acrylic on six canvases (two canvases: 36 x 36 in, four joined canvases: 24 x 48 in) overall installation dimensions 64 x 144 in (162.6 cm x 365.8 cm). Photograph courtesy Pace Gallery. © 2018 David Hockney.
Coming off Hockney’s stunning retrospective at the Metropolitan Museum of Art celebrating his 80th birthday, this new body of work proposes to resolve the artist’s lifetime pursuit of accurate perspective with a radical new way to authentically see.
Installation view, Jane Irish: Antipodes, courtesy of the artist, Lemon Hill and Philadelphia Contemporary.
For the first time in its 200-year history, a mansion in Philadelphia is transformed into a major public art project by American artist Jane Irish. She talks about a career spent exploring anti-war activism.
The Ol' Switcheroo, Performance, 2018, Sophie Jung (centre), Sarah Duffy (right), Rebecca Lennon (far right). Courtesy of the artists and Jupiter Woods.
This group exhibition, by the artists Rebecca Lennon, Sarah Duffy and Sophie Jung with curator Carolina Ongaro, is like a brimming basket of foraged goods, a container for ever-changing stories.
Chila Kumari Burman. Photograph: David George.
Burman talks about the inspirations for her intricate, multilayered works, including her latest commissions for the Science Museum and an exhibition honouring suffragettes – and why she bought a tuk-tuk.
D*Face. Love Struck. Enamel and pigment-based paint on canvas. Photograph: Jill Spalding.
Leading the pack of satellite fairs crowding contemporary art week, Frieze, revamped under a new director, and Tefaf Spring quelled art market jitters with safe material and brisk sales.
Rodin in his Museum of Antiquities at Meudon on the outskirts of Paris, about 1910. Photograph: Albert Harlingue. Image © Musée Rodin.
Come to the British Museum to eavesdrop on a conversation across the millennia between Auguste Rodin and Pheidias, his mentor from the fifth century BC.
Neil Gall. The Studio, Spoleto, 2017. Collage. © the artist.
For his current show at the Henry Moore Institute, Gall has played around with old copies of The Studio magazine to make new cover versions. He talks about how he came across the old issues and what they mean to him and explains a little about his practice.
John Russell. Telepath, 2018. Installation view, The Gallery of Modern Art at Royal Exchange Square. Photograph: David Gibson.
The largest festival for contemporary visual art in Scotland, the eighth Glasgow International, under the directorship of Richard Parry, has a plethora of exciting work. Below is a roundup of what’s on offer.
David Shrigley talking to Studio International at the opening of Life Model II, Fabrica, Brighton, 13 April 2018. Photograph: Martin Kennedy.
David Shrigley talks about his large-scale installation Life Model II at Fabrica Gallery in Brighton, part of the Brighton Festival for which he is this year’s guest director.
Emil Nolde. Self-portrait, 1917. Selbstbild, 1917. Oil on plywood, 83.5 x 65 cm. © Nolde Stiftung Seebüll.
With a riot of vibrant colours, German expressionist painter and printmaker Emil Nolde brings to life flowers and gardens, dancers and cabaret singers, and people of all different types and races.
Helen and Kate Storey: Neurogenesis: from neuron birth to all that we are, 2018, installation view. Photograph: Erika Stevenson.
An interdisciplinary and collaborative exhibition that fuses art, fashion and cell imaging to share fascinating scientific insights into what it means to be human.
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