In 1951, on the eve of his first art exhibition, in London, the 19-year-old painter David Tindle thumbed through the phone book, to help sprinkle some stardust onto the occasion. He discovered that one of his heroes – John Minton – was listed, and gave him a cold call.

Mark Johnston was brought up in the north-east of England, and has lived most of his adult life in Sussex. He has spent long periods of time sketching in other parts of the country (Cumbria, for example; the Munros in Scotland) and Europe (he has lived in Greece, Andalucia and Barcelona).

“White is the whole reason for me painting”.So says John Blackburn, who is celebrating his ninetieth birthday with his seventh exhibition at Mayfair gallery Osborne Samuel (September 8 – 23).

It would be worth betting that the sitter for this painting, Girl with Powder and Puff, by Laura Knight, is none other than Eileen Mayo, an artist in her own right who earlier this year was given a retrospective show at Towner Gallery. This would probably date the painting to c1926-30, when Mayo regularly sat for Knight, as well as her husband Harold.

This highly acclaimed exhibition at the Sainsbury Centre, Norwich, featuring Mod Brit greats has been extended till September 4.

One new feature of the British Art Fair 2022 will be the ‘Solo Contemporary’ stands, on the Second floor of the Saatchi, curated by Zavier Ellis, of Charlie Smith Gallery.

Pace Gallery have announced the sad passing of the Swedish-born American artist Claes Oldenburg, on Monday July 18, aged 93.

Edward Bawden and Eric Ravilious met on their first day at the Royal College of Art in 1922, and immediately became firm friends.

The news was broken to the world by Victoria Miro, the gallery which has represented her since 2020.

The show has been guest-curated by Hepworth’s granddaughter, the art historian Sophie Bowness.

In 1930 Lucy Wertheim was showing a French friend around London, and she felt ashamed that no art gallery was dedicated to representing contemporary British artists painting in the ‘Modern’ style.

The pairing of these two seemingly disparate artists serves, interestingly, to reveal what it is that they share: not just a deep connection with the mysterious and ancient landscape of West Cornwall, but a brilliantly diverse creativity.

Scots/Irish artist William Crozier (1930-2011) established his reputation as one of the leading artists of his generation in post-war Britain with a remarkable series of landscape paintings produced from 1958 to 1961.

Suddenly Glyn Philpot – 100 years ago the darling of London society for his Veronese-style portraits of the rich and the titled – is again getting the attention he deserves.

‘There is no beauty except in strife, and no masterpiece without aggressiveness’, stated the painter, etcher and lithographer CRW Nevinson, in a 1915 interview in The Daily Express, illustrated by an image of the painting Returning to the Trenches, on which this 1916 drypoint print, of the same title, is based.

There was a push-me-pull-you tension about the British art scene between the two world wars, posits art historian Frances Spalding, in her fine new book The Real and the Romantic.