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There is room for a book on this subject, among the vast mass of publications about the visual arts that flow from British and American publishing houses every year. Gay art, from being a quasi-forbidden topic, is now fashionable, not least among would-be up-to-the-minute academics.

In Chinese culture, calligraphy is so closely allied to traditional modes of ink-and-brush painting as to be almost indistinguishable from them. There is no definite border between the two art forms, as this exhibition amply demonstrates.

Lucio Fontana is rightly regarded as one of the most important Italian artists active in the 20 years after World War II, important not only in Italy, but in a pan-European sense. It is, however, also important to remember additionally that he was born in Argentina and spent quite important parts of his early career there, working first as an assistant to his father, Luigi, a sculptor, and then independently.

The Antonello da Messina exhibition now at the Scuderie del Quirinale in Rome is one of those rare occasions that takes place only once in a lifetime. In fact, an exhibition devoted to Antonello will almost certainly never happen again. Like Vermeer, whom in some respects he resembles through his quietism, he is known through very few paintings - less than 50 in all. About two-thirds of these have been gathered together for the exhibition.

The magnificent Veronese show that opened at the National Gallery in London in 2014 met with a curiously subdued response from local reviewers. They recognized that it was a magnificent event of its kind, and one that was especially appropriate because the gallery has an important group of works by this 16th-century Venetian painter in its own collection, among them the famous Family of Darius Before Alexander.

Ihr verhasster Job wird ihre neue Chance ... Knall auf Fall steht Edith "Eddie" Beelitz mit ihrer kleinen Tochter Lotti auf der Straße: Ehemann Philipp war eindeutig die falsche Wahl. Weil bei der Bochumer Polizei Personalnotstand herrscht, kann Eddie kurzfristig in ihren ungeliebten Beruf zurückkehren, und das sogar in Teilzeit bei den Mordermittlern. Die haben gut zu tun: Vor dem Jobcenter liegt die Leiche der arbeitssuchenden Ronja Bleier - sie wurde brutal erschlagen. Eddie, die gehofft hatte, nur Schreibarbeiten übernehmen zu müssen, ist überfordert.

Dismissed for misconduct from the Met’s Homicide Command after refusing to follow orders, unable to pay her bills (or hold down a relationship), Detective Inspector Robin Lyons has no choice but to take her teenage daughter Lennie and move back in with her parents in the city she thought she’d escaped forever at 18. In Birmingham, sharing a bunkbed with Lennie and navigating the stormy relationship with her mother, Robin works as a benefit-fraud investigator - to the delight of those wanting to see her cut down to size.

Naufragée au large de la Martinique, je suis sauvée par un milliardaire sulfureux à bord de son yacht. Prisonnière docile et consentante de mon hôte et de ses amis, je découvre un paradis de la luxure voguant sur le flot de mes orgasmes... Moi Lucie, je suis une Nouvelle Amazone et je vous raconte ma croisière libertine à la barre d'un bordel flottant ! Dans l'Antiquité, les Amazones étaient un peuple de guerrières, d'une beauté irrésistible. Aujourd'hui, les Nouvelles Amazones allient, comme leurs ancêtres, la séduction et l'indépendance. Maîtresse-femmes, elles savent ce qu'elles veulent.

When Beryl Cook died, she was the subject of a large number of obituaries. Some of them were predictably condescending, which I suspect she would not have minded a bit. The really telling thing, however, is what has happened since then on the web. If you go to the site maintained by The Times, still regarded as the British paper of record, and look for the paper’s obituary archive, you will find a section within it devoted to "Artistic Genius". The subtitle is "Artists and makers who changed the way we see".

Eminent art historian and writer Edward Lucie-Smith discusses an ambitious digital art book series called 100 London Artists, designed to celebrate London as an art city.

Every now and then, an exhibition comes along that hits you in the solar plexus. The compact Daumier show at the Royal Academy in London is one of those. It is housed in the moderately sized Sackler Galleries on the top floor of the building, not in the main exhibition rooms below, where it would be swallowed up. Most of the works on view are quite small. Very few are more than medium sized. For the most part, the color is subdued. Indeed, some of the paintings seem monochromatic until you examine them more closely, The range of subjects is, if not exactly restricted, not hugely wide.

The Gale Dictionary of Psychoanalysis defines ‘self-representation’ as “the image the subject has of him or herself based on his or her own interpretation.” The hugely influential 20th century psychoanalytic researcher and philosopher Jacques Lacan enlarges on this by speaking of “the finally donned armor of an alienating identity that will mark [the subject’s] mental development with its rigid structure.” Not surprisingly, psychoanalysts see this construct as a manifestation of the ego, and also as something intimately linked to narcissism.

The monograph publishes a study of Rembrandt van Rijn and JMW Turner at the National Gallery and Tate Britain in exhibitions of their later works.

"Gothic Nightmares" at Tate Britain in London was an important exhibition, but not entirely for the reasons that its organizers thought. They clearly saw it as a stage in mapping an episode in British art - the rise of the Sturm und Drang, hand-in-hand with a new age of Gothic sensibility in literature - that has, until now, been relatively uncharted. What they almost entirely failed to perceive was its relevance to recent, and even current, developments in British and American art.

Wifredo Lam is by far the most celebrated, and most people would say the greatest, artist produced by the Caribbean region in modern times. His relationship with where he came from is, however, extraordinarily complex - much more complex than most of his admirers suppose, largely because they usually have no direct experience of the region and little knowledge of its social history.

This year sees the 300th anniversary of the foundation of St. Petersburg, an event that is being widely celebrated here in London as well as in Russia. And today The Times of London carried a story about the "widespread sleaze" that is hampering the restoration of Russia's former capital city. Though Oleg Kulik is not a Petersburg artist, these two facts help to provide a context for his career. Western interest in and curiosity about Russia is acute. The tendency is, however, to look at the Russian past, not at the present.

Hammershoi is, in a certain sense, the Danish Vermeer, an artist whom he occasionally paraphrased. That is to say, a quietist painter obsessed by subtle effects of light, forgotten very soon after his death, but rediscovered and turned into a demi-god by a later generation.

The new Gauguin exhibition at Tate Modern in certainly the art event of the year in London. It’s a blockbuster exhibition of a kind that, thanks to the continuing worldwide financial crisis, may soon become extinct. It is also an exhibition that raises important questions about how we currently see and think about art.

Rothko is now one of those mythical artists, an icon of 20th century creativity, the central figure in a tragic legend. Which means to say that one is pretty much compelled to agree that everything he did was wonderful, a manifestation of genius. I have to say that I find myself increasingly resistant to this approach. Some works by Rothko I do in fact respond to, with their glowing blocks of color.

There is an increasing tendency to set up body artists and performance artists - the two categories are often interchangeable - as the real heroes and heroines of the contemporary avant-garde. In fact, we need to look much further back for its beginnings. The first body art performer, as well as the first professional bodybuilder, was the showman, Eugene Sandow (1867-1925). Though Sandow’s heyday occurred before the birth of the Modern Movement, there are compelling reasons for giving the primacy to him.