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Eileen Agar's seaside surrealism and Thomas Becket's lost medieval Britain – the week in art | Art

Last modified on Fri 14 May 2021 09.02 EDT
Exhibition of the week
Eileen Agar
One of the most imaginative and quirky early 20th-century British artists gets a fresh look â is Agarâs seaside surrealism due a revival?
Whitechapel Gallery, London from 19 May until 29 August.
Also showing
Jean Dubuffet
Wildly subversive star of postwar French art whose concept of art brut â raw art â is suddenly urgent again in our age of authenticity.
Barbican, London from 17 May until 22 August.
Becket
This is a beautiful and exciting encounter with the lost world of medieval Britain, packed with fascinating art.
British Museum, London from 20 May until 22 August. ....

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Psychedelic spring colours and some spectacular surf – the week in art

Pierre-Auguste Renoi, Moulin Huet Bay, Guernsey, circa 1883
Anyone getting excited about summer days after lockdown may warm to this daydreamy scene. Renoir was one of the founders of the impressionist movement in the early 1870s â painting in the moment, in the open, to capture fleeting light. Here, a decade on, heâs still spontaneous and sensual. But the impressionist belief in depicting reality is melting. Those toothy rocks snarling out of the sea seem like fantastic visions. The green and gold water is a warm syrupy concoction, rippling with nostalgia. Renoir is sailing away from the real to the surreal. ....

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Neither the BBC nor arch-Remainers understand what 'Britishness' is today

The novelist and Brexit critic Jonathan Coe suggested the BBC was obsessed with Britishness
Credit: Hay Festival
I am British: I was born in Homerton hospital in Hackney, and have lived most of my life no further than spitting distance from it. And yet I’ve always ticked the box for “Irish” when asked on forms for doctors or employers. Identity is complicated: first-generation immigrants are more likely to embrace “Britishness” in an attempt to blend in, but their kids are often nostalgic for the authenticity of the “home country”. I may hold a British passport, but I liked the fact that, behind closed doors, the flat in which I was brought up was a little Co Wicklow. ....

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Hockney beams into Piccadilly and Scots steal the limelight – the week in art

The Painter, 1865, by HonorÃ© Daumier
This intense, disturbing study of a human head with eyes that are gulfs of dark introspection looks like it could be a modern painting by Dubuffet or Auerbach. But it was by HonorÃ© Daumier, an artist is still widely misunderstood as merely a gifted newspaper caricaturist who occasionally turned out a painting. Itâs true Daumier was a brilliant satirist, the French Gillray, whose lethal graphic art made real political impact (he famously portrayed King Louis Philippe as a pear, a grotesquerie that stuck). But as his contemporary the poet and critic Charles Baudelaire recognised, he was also a pure artist poised powerfully between romanticism and realism, tragedy and comedy. We see that profound side here. ....

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Ray Harryhausen's killer skeletons and Georg Baselitz's gnarled hands – the week in art | Art

Christ in the House of Martha and Mary, 1654-56, by Johannes Vermeer
You could pass this painting without noticing it is by one of the most popular artists in history, Vermeer â for it is so different from his famous enigmatic scenes of a servant pouring milk or a girl turning her face towards us. But look again. This may seem a more conventional religious scene, yet the story of Christ visiting an ordinary home, where Mary sat to listen to him while Martha got on with her chores, resonates tellingly with his more familiar realist scenes. Maybe all his women are Marys or Marthas. Closing in on this scene, the depiction of Martha holding a basket of bread is pure Vermeer: take away the holy visitor and she could be in one of his Dutch interiors. Yet the inwardness of Mary, too, is of a piece with his absorbed women reading letters or playing the virginals. This may not be Vermeerâs most hypnotic work, but its Biblical message may be the key to all his art: the Vermeer ....

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