You'd expect woodcuts to be quite dry, with the images rigid and lacking in artistic expression but not at all. The technical expertise in the 150 prints the RA has brought together is such that there is great detail in these prints with bodies outlined in curving sculpting lines, and cross-hatchings used for shadow.
As you weave between the blooming orange trees, which beguilingly give out an aroma of comforting honey in the spring, in the garden of the grand but homely house of the late great poet and author Robert Graves, you feel he'd achieved what every artist craves - an inspiring base, studio or home where you can create.
I have long been an admirer of the work of the Cartier Foundation. Now as we are able to look back at thirty years of this most inspired organisation, we can truly see the incredible vision of its founder Alain Dominique Perrin, its director Hervé Chandez and the hard work of my dear (and sadly departed) friend Sylvie Dumas who for many years provided the financial structure to enable the foundation to commission art without any boundaries.
The success of Mosse's work exposes the shortcomings of other war photography and documentary photography today: much of it fails to overcome the widespread desensitisation of the viewing public. His undulating vermillion landscapes and conspicuous magenta figures are not rose-tinted depictions, so to speak: they do not make light of the grave situation.
Tate Modern's major exhibition, Henri Matisse: The Cut-Outs, is the most comprehensive exhibition ever devoted to the artist's paper cut-outs. It brings together around 130 works, many seen together for the first time, in a ground-breaking reassessment of Matisse's colourful and innovative final works.
Each year curator Justin Hammond travels the length and breadth of the UK visiting art schools and colleges and attending their degree shows. Through his observations, along with recommendations from tutors and those in the art world, his task is to choose 40 of those he considers to be the most promising young talent for inclusion in the annual Catlin Guide.
At the Crafts Council we believe that it's absolutely vital that we not only have a strong relationship with the craft organisations of other nations but that we also make sure we're exporting the products, skills and ideas of the best of the UK's makers to new places, opening up new opportunities and showing the world quite how good we are at making things.
"In Belfast in the early '70s things were tricky. When I asked my local green grocer if I could do some paintings for his window for Christmas, he paid me in vegetables. The next year when I did the butcher's, he paid me in sausages. By the time I was 13, I realised I had a business. So I started charging."