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The sixth in Cv's series of English County Guides explores Wiltshire. The dramatic sweep of a spare landscape of the Pewsey Vale introduces the historic town of Marlborough. It follows routes towards the west; to Bath and Avon; taking in settlements of Chippenham, Calne, Melksham, Devizes, Malmesbury, and Bradford on Avon.

Despite his short span of activity, from 1423 to 1428, Masaccio can be placed as the signifier of a radical break with the period of Italian painting known as the Trecento, and, alone among his contemporaries, in his use of dramatic realism points the way to the spectacular creations of the High Renaissance, in which artists such as Michelangelo, Raphael, and Palladio achieved a fusion of classic and humanist ideals in painting, sculpture, and architecture.

With its eccentric shape, tacked on like a long medieval shoe to Southern England, Cornwall is not the easiest shape of an area to research. I began by driving north to Kilkhampton and Morwenstow, then south via Bude to Bodmin and Padstow. From there I moved east to Launceston, visiting Antony and St Germans near the Tamar Valley, and down to Looe and St Austell.

First published as Journal of The Gallery London in 1993 with revised editions in 1998, 2001, 2008, and 2011, over 600 entries chronicle the life of the city: a powerfully driven arena of dysfunctional experience. Episodes record incidents and encounters: in the streets, the movement of shoppers and travelers, and scenes of social and internal life. As the journal develops, fact and fiction blend into a film-like sequence of events.

A study of three leading German artists presently exhibited in London at Tate Modern, the British Museum and the Royal Academy. In 2014, a resonant series of anniversaries and commemorations prompted an enhanced awareness in London of the history of the Teutonic world in general, and - specifically - a sense of post-war Germany in terms of three of its most symbolic and emblematic visual artists.

The photographers discussed in depth in this essay have all engaged with the everyday or the quotidian, yet they are a small sampling of the numerous photographers who have engaged with this subject.

Ben Luke, resident art critic of the London Evening Standard, calls Ai Weiwei "probably the most famous artist in the world. He has transcended the world of museums and galleries, and exerts a newsworthiness that no other artist competes with." This statement, if one bothers to look through the kind of publicity that Ai now attracts - thanks to the digital revolution most of this is easily available with a few clicks on one’s computer - is self-evidently true.

The immense and very sudden success of contemporary Chinese art in Western markets is a phenomenon that Western critics are still struggling to assess. Many link it, not unreasonably, to the economic resurgence of China during the past decade and a half. This resurgence should not have been unexpected. Up to and perhaps including the period of the Ming emperors, China represented as much as 25% of the whole world economy.

A good art collection is always much more than the sum of its parts. This applies with especial force to collections of contemporary work. A collection of this kind, whether the collector intends it to be so or not, is always a portrait - a reflection in the mirror of a particular epoch, and, willy-nilly, a self-portrait of the person who takes the trouble to bring it together.

The term avant-garde continues to be used, in my opinion with far too much frequency, in discussions of contemporary art. It derives, of course, from military terminology, and implies that the art to which it is applied is somehow ahead of the game. It’s worth taking a look at how this assumption works in practice. Essentially, Western and now world art has witnessed the emergence of a series of avant-gardes since just before the third quarter of the 19th century.

Listen as descriptions of human physiology are illustrated in the eBook edition with 80 panel paintings by Philip James ROI. A viscous surface of pulped and washed colour interprets the intricate framework of muscles, arteries, bone and soft tissue, all infused with an internal dynamic of potent nervous energy. First published in 2001, the volume carried 80 colour plates of art works with descriptions of the location and function of portrayed parts.

A visit to the Palace of Knossos in Crete in 2005 leads to the story of the fabled Ring of Minos, lost for 2,000 years but rediscovered in the 1930s, now in the local museum of Herakleon. The author joins the tour of the ancient Minoan palace and adds historical reference to this detailed study of a great and vanished culture.

The dazzling exhibition of Horst at the Victoria and Albert is particularly apt: classically trained in avant garde design and architecture, Horst was involved as a precociously successful photographer for Condé Nast publications, not only with the leading fashion houses, but the social and artistic élite. And he took sustained inspiration from the isms of art - past and present. In the thirties he photographed costumes by Dali and used props from Giacometti furniture. Dali designed a set for a photograph for Horst to take for American Vogue, with dresses by Hattie Carnegie.

Love and marriage...does it really go like horse and carriage? In part five of Magdalena Wasiura's journal, one can hear a broad chapter regarding marriage and love coupling, and in the context of a strange encounter in Beni Mellal about hashish and l'eau de vie. One will travel to the plateau de Tadla and discover an amazing Bin El Ouidan barrage and one will dance to the Berber upbeat at a newborn baby party.

An essay by Edward Lucie-Smith explores aspects of the mysterious and private character of the renowned American society artist John Singer Sargent.

Going to the Frida Kahlo exhibition current at Tate Modern in London is like entering the shrine of a secular saint. The rooms are thronged. People peer closely at the paintings, many of them very small. They seem afraid to talk much above a whisper. There are a number of reasons for this reaction. One is Hayden Herrera’s highly readable biography of the artist, first published in 1983, and now established as a classic feminist text. Another is the feminist movement’s general need for heroines, which has had a similar effect on the posthumous reputation of Georgia O’Keeffe. A third, probably the most powerful, reason is Kahlo’s own personality, which combined self-assertion, defiance and masochism in almost equal proportions. In this respect Kahlo can be compared with a slightly later generation of English-language poets, male and female. Prominent among them are Robert Lowell, John Berryman, Sylvia Plath and Anne Sexton.

Explores the structure and development of the Pre-Raphaelite movement in the mid-19th century and works that figure among the most enduring and generally popular in British art. Renowned writer and art critic Edward Lucie-Smith contributes a study of the brotherhood of seven artists and their interconnection and intricate links with the social establishment of the time. James Cahill has a special interest in the movement, having studied Dante Gabriel Rossetti and Holman Hunt. He reviews a major exhibition of 150 works at Tate Britain launched in September 2012.

This article is essentially a follow-up to a piece by The Jackdaw’s revered editor, David Lee, published in The Times on July 25, 2013. In it, he detailed just what a fiasco the Arts Council’s contribution to an otherwise successful Olympic year was, with £5.4 million spent and nothing to show for it.

An interview with the author J. P. Donleavy, recorded in 1989 on the occasion of his exhibition at Anna-Mei Chadwick Gallery, Chelsea. He describes his formative experience of Dublin, with exhibitions there in 1948, '50, and '51, the catalogue manifestos, for these were his first published writings, leading to work on his first renowned novel, The Ginger Man.

An anthology of essays and reviews by the eminent art historian and writer, Edward Lucie-Smith. The articles cover a broad span, from the Italian Renaissance of Giotto and Antonello da Messina, Leonardo, and Michelangelo, progressing to Rubens, Velázquez, and Ingres, with essays on William Hogarth, John Constable, and John Everett Millais for British art. With the experience of his landmark publications on modern art, which remain in print, the author sweeps the listener on a fabulous journey of perception.