Picasso's paperwork and Whistler's Peacock Room – the week in art

Exhibition of the week

Picasso and Paper
The boundless creativity of the greatest modern artist is dazzling even when confined to a single, fragile material.
Royal Academy, London, from 25 January to 13 April.

Also showing

Darren Waterston’s recreation of Whistler’s Peacock Room, at the V and A.

Decadent fun … Darren Waterston’s recreation of the Peacock Room. Photograph: Colleen Dugan/Freer Gallery of Art/Arthur M Sackler Gallery

Filthy Lucre
Darren Waterston’s decadent recreation of James Abbott McNeill Whistler’s Peacock Room is fun but lacks real punch or depth – although it’s nice to be reminded of Whistler’s brilliance.
V&A, London, from 25 January to 3 May.

American Pastoral
Survey of artists from Albert Bierstadt to Diane Arbus who reveal the dark side of the American dream.
Gagosian Britannia Street, London, until 14 March.

Don McCullin
Romantic views of nature by the photographer better known for recording human tragedy.
Hauser and Wirth, Bruton, Somerset, from 25 January to May 4.

An exploration of the undying legacy of Thomas More’s 1516 book about a perfect society.
Whitworth, Manchester, from 31 January to 27 September.

Image of the week

Seminole Hard Rock Hotel in Hollywood, Florida, shaped like a guitar.

Photograph: Daniel Newcomb

Seminole Hard Rock hotel, Florida
This $1.5bn building, more than any other, embodies the end-of-the-world hedonism of the new roaring 20s. It is the work of the Seminole tribe, a Native American group whose population on the Florida peninsula numbered 200,000 when Spanish colonisers first arrived in the 1500s, now down to 4,000 members. In many ways, the edifice is a fitting symbol of Seminole defiance: the tribe have long boasted being the only Native Americans to refuse to sign a peace treaty with the US government. With a name deriving from the Spanish word “cimarrones”, meaning untamed ones, the Seminoles have proved a force to be reckoned with ever since.

What we learned

Why mushrooms feature in the work of many artists

Jarvis Cocker is a fan of vintage sweet wrappers

Female sexuality and vaginas are celebrated on the London Underground

The 50-year history of video art is surveyed in five trailblazing works

How children made museums take fun more seriously

Two major 20th-century artists are rediscovered

Instagram is influencing the way art is being promoted and displayed

A gloomy self-portrait has been authenticated as a genuine work by Vincent van Gogh

Life magazine photographer Bill Ray died aged 84

And one of Australia’s greatest museum directors, James Mollison, died aged 88

Dior’s haute couture show paid tribute to artist Judy Chicago

The Brooklyn Museum put on a show of rarely seen work by female artists

Art thieves admit to stealing and returning Klimt’s Portrait of a Lady

Ai Weiwei revealed his latest work, a virtual reality video about Myanmar

Danielle Peck’s photographs show the coastal resort of Margate at a moment of change

The annual festival of music and art at Hobart’s Museum of Old and New Art is nonsense …

… while New South Wales’s coastal swimming pools are amazing works of art

Andrew White reveals his best shot to be a photo of a besequined Beyoncé exiting the stage

The restored Van Eyck alterpiece, Adoration of the Mystic Lamb, left many people speechless

A fundraising campaign to save the home and garden of the artist and film-maker Derek Jarman was launched

Women, trans and non-binary photographers staged a visual rebellion

Sicilian photographer Ferdinando Scianna has spent half a century capturing the world’s extremes …

… while Elizabeth Heyert’s images of sleepers projected on to walls in a Sicilian ghost town have a timeless quality

Satirical signs poking fun at Sydney’s nanny state are being taken for real

Masterpiece of the week

Pierre-Cécile Puvis de Chavannes, The Beheading of Saint John the Baptist, about 1869.

Photograph: National Galleries of Scotland

Beheading of Saint John the Baptist, circa 1869, by Puvis de Chavannes
This is one of the first of a wave of artistic, literary and musical treatments of the death of John the Baptist at the behest of Herodias and Salome that helped to seed modernism. In culturally advanced 19th-century France, the story was written about by Flaubert and Huysmans and painted by Moreau in ways that shaped a new aesthetic of sex and death. Oscar Wilde’s play Salome, written in French in homage to these pioneers, made this new-old myth both popular and controversial. When Richard Strauss turned Wilde’s Salome into an opera, modernism hit music.
Puvis de Chavannes was ahead of the pack by being behind it. This painting was done when the impressionists were emerging, but this idiosyncratic artist ignored modern life in favour of eerie frozen tableaux. Here, the majestic muscular figure of the executioner ripples his back like a Michelangelo nude. The killing is a stately ritual enacted in a dreamy twilight. It anticipates the escape into dreams and symbolism that was to make fin de siècle art so intense. Aubrey Beardsley, whose illustrations for Wilde’s Salome are masterpieces of abstract Freudian dream art, visited Puvis de Chavannes and surely knew this painting.
National Gallery, London.

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