The British public’s horrified reaction to the sickening criminal felling last autumn of one of Britain’s best-loved natural landmarks – the famous sycamore near Once Brewed on Hadrian’s Wall – is testament to the country’s deep-seated love of trees.

Iona, in the Western Isles of Scotland, has long attracted artists, keen to interpret the ever-shifting visual interplay between sea, sky and shoreline.

To that list you can add contemporary oil painter Frances Macdonald, currently enjoying a solo show – largely featuring oil paintings of Iona – at Portland Gallery, on Bennet St, St James

In 1920, 27-year-old Slade School graduate Lucy Harwood had an emergency appendix operation on the kitchen table of the house she lived in. 3 days later, it was discovered she was paralysed down her right side, and had lost the use of the right hand she painted with. But she was determined not to give up painting.

Lucy Harwood: Bold Impressions, which runs until April 14, is the third in an ongoing series at Firstsite exploring the careers of Benton End artists.

Sean Jefferson: The Twelve Days of Christmas and Other Works runs at David Messum Fine Art, St James until December 22.

Each painting demands a careful reading, though few viewers will be able to decipher all the folkloric and spiritual symbols. It’s a feast of fairies, sprites, jesters, druids, winged dogs, ominous ravens, runic symbols, gnarly trees, medicinal herbs and slivers of moon in yellow skies.

In 2006, the painter Hurvin Anderson accompanied his father to his regular barbershop, situated in a converted attic in the centre of Birmingham.

It was a Jamaican barbershop, which made the father – a Windrush immigrant – feel at home, as it was designed to do, painted in bright colours, the walls covered with posters of iconic black figures and newspaper cuttings: a very Caribbean clutter.

Hurvin Anderson: Salon Paintings runs at Hastings Contemporary until March 3.

2023 has been an eventful year for the painter Anthony Eyton. In May he celebrated his 100th birthday. In June he was awarded an OBE in King Charles’ first Birthday Honours, and was featured in an exhibition of portraits at Michael Richardson’s Art Space Gallery, alongside Arturo di Stefano. And in September he enjoyed the opening of a retrospective of his work at Browse and Darby. The show continues until November 10.

What do Frida Kahlo, Louise Bourgois, Barbara Hepworth, Georgia O’Keeffe, Berthe Morisot, Helen Frankenthaler, Bridget Riley, Tracey Emin, Leonora Carrington, Tamara de Lempicka, Angelica Kauffman, Artemisia Gentileschi, Yoko Ono, Gwen John, Yayoi Kusuma, Sarah Lucas, Cornelia Parker and Cindy Sherman have in common?

None of them have been given a solo exhibition in the main galleries of the Royal Academy, that’s what. In fact, NO woman has ever been given that honour in the 255-year history of Britain’s most prestigious venue.

Until now, that is.

Take a bow Marina Abramović…

If Eve hadn’t gone for that apple, would the Garden of Eden have remained, for evermore, an unspoilt, innocent paradise? James Mortimer’s surrealist, symbolic, uncanny paintings suggest not, describing an alternative Eden, where: ‘Freed from social constraint, people behave unthinkingly with a blissful lack of self-awareness, and once governed by their basest instincts soon find themselves given over to shameless naked abandon: to foolish acts of wanton violence, sexual impropriety and long afternoons of listless indolence’.

The Scottish artist Charles Hodge Mackie RSA RSW, the founding president of the Scottish Society of Artists, had a fruitful love affair with Venice, and made several extended visits to the ‘La Serenissima’ between 1908 and 1914, creating many works which significantly enhanced his reputation. You can admire his work at the Fine Art Society’s latest exhibition, titled Twentieth Century, at their London gallery.

The National Portrait Gallery’s 2020 exhibition of portraits painted (and otherwise created) by David Hockney closed after just 22 days, due to governmental Covid restrictions. Hockney has since continued to invite sitters to his Normandy studio – including pop singer Harry Styles, pictured above – and 33 of these will be included in a new version of the exhibition, Drawing from Life, to be displayed at the National Portrait Gallery in November. Tickets have gone on sale this week…

There’s double reason to go to the National Gallery this week, with one stunning temporary exhibition just opened, and another set to close.

First up, Crivelli’s Garden, the monumental mural created thirty years ago by the late Paula Rego. Rego’s work stretches ten metres across and depicts female characters from the Bible, the Golden Legend (a medieval compilation of the lives of the saints) and other traditional folklore sources, reimagined through Rego’s very female gaze.

1936 was quite a year for Eileen Agar. In the spring she was visited in her studio by Roland Penrose and Herbert Read, who, to her surprise, declared her a surrealist and selected two paintings and five objects for inclusion in the International Surrealist Exhibition they were organising at the New Burlington Galleries in Mayfair, running from June 11 to July 4.

“I’m very interested in the whole set-up of the American influence in this country,” states the 24-year-old Derek Boshier, rather earnestly, in Ken Russell’s seminal BBC documentary Pop Goes the Easel, made and broadcast in 1962. “In the infiltration of the American way of life. It’s through advertising… that this infiltration has come through”.

“I don’t find men very interesting to look at,” Chantal Joffe told the Telegraph a few years ago. She doesn’t feel the same way about women: her subject matter is almost always portraiture of female figures. She paints her mother, she paints her daughter Esme, she paints herself, unflinchingly (in 2018 she produced a self-portrait every day of the year), and she paints friends, and friends’ children, such as Scarlett and Lola (pictured) who have featured in her work since they were toddlers…

A strange thing happened at the private view of Long & Ryle’s solo exhibition of the paintings of Kate Montgomery, in Pimlico on Wednesday evening (June 29th). The wine was flowing, and there was a convivial atmosphere, as the Brighton-based artist, up for the evening, held court. But, in any photographs taken of the party, there won’t have been many faces in shot: just lots of backs of heads. I’ve never been to an art opening at which so many people spent so long looking at the art.

On February 9th, 1965, The Beatles appeared on the Ed Sullivan Show for the first time, in front of a record live TV audience of 73 million Americans, starting their set with All My Loving, and ending it with She Loves You. Beatlemania had crossed the Atlantic.

Alistair Grant, who died in 1997, left a huge body of work behind him. His estate and archive is represented by the Eastbourne-based gallery Emma Mason British Prints, which will be presenting at the British Art Fair for the first time this Autumn, and showing a number of his prints and paintings. Most of the pieces Grant produced for The Rebel have disappeared, alas, so don’t expect to see any of his Hancock works, such as Ducks in Flight around the Eiffel Tower, Exhaust Fumes on a Wet Thursday Night, or Sodium Light on a Left Buttock.

If there’s one place where mankind can claim victory in the struggle to tame and colonise nature, it’s got to be the Cotswolds. Which is probably why the ‘Beast of Burford’ – a black panther supposedly on the prowl in Oxfordshire – has become such a popular local legend. The painter John Lendis has made the Cotswolds his home, after spells abroad and is fond of inhabiting his landscapes of the area with repeated motifs: of foxes, angels and Landrover Defenders.  

Emily Young, ‘Britain’s greatest living land sculptor’ (FT), talks about having a friendship, even a marriage, with every bit of stone she works with, whether that’s Onyx or Speleothem, or Jaisalmer, or Quartzite, or Calacatta, or Lapis or Alabaster.

King Charles, it turns out, is a very competent artist. A series of 16 of his paintings – made when he was Prince of Wales, between 1992 and 2000 – were made into lithograph prints, in a limited edition of 100, by the late Stanley Jones at the Curwen Studio, with proceeds going to the Prince of Wales Charitable Fund.