Painting

"Famously he was a painter of fairies, yet he was far from being away with the fairies"

"The best work, by contrast, finds strangeness in the familiar, and summons a forceful, idiosyncratic poetry. Paul Nash and Ivon Hitchens are the stars, although a couple of free-and-easy drawings by Peter Lanyon, inspired by gliding above Cornwall, are thrilling – and don't deserve to be stuffed in a corner."

"The painting is overwhelming, not only for its scale but also for its dazzling variety of tones and textures, from the schematic design of the planets to its impasto treatment of the moss on the stones, which blooms from the surface of the canvas in wild green clumps. The effect is sublime."

"He could paint like Jan van Eyck when he wanted but sometimes preferred to paint like a clumsy moron. Magritte was too intelligent to respect anything, least of all art."

""Our work in life is to develop ourselves and so fulfil our destiny," John wrote to her friend Dorelia McNeill in 1904. This show is a beautiful testament to that."

"And then the spell is broken. The show shifts forward suddenly, brutally, into some so-so early 20th-century Korean art. Modern pastiches of traditional art mix awkwardly with European and American-style modernism from the 1900s to 1950s."

"But in Pierre-Auguste’s paintings, there’s no punishment. Nobody gets syphilis or drinks themselves to death, or drowns in the Seine. This is the happiest art exhibition of the year."

"But the good stuff here – the shacks and Frustulas – is exceptional. It’s not just morose memorialising of brutal history: it’s a joyful celebration of ingenuity and survival in a world of inequality. As rickety as they look, these shacks tell a story that’s built to endure."

"The Riviera is left looking about as sublimely erotic and glamorous as a wet day in Margate. Tender Is the Night this is not. I don’t know whether the problem is pretension or, more depressingly, pandering to visitors the RA thinks want nice sunsets without the disturbing desires."

"Like magic tricks, these paintings attract your gaze but do not hold it for long. My lingering feeling was that this was no longer a failure: the artist preferred, for reasons of temperament, to excite the eye rather than trouble the mind."

"After centuries of colonialism and exploitation, there's just so much anger and pain here. This show isn't just about the earth and memory, this is art as a form of aesthetic resistance. It's hard not to see these ideas of stolen land and colonialism through the lens of Trump's regime with its ICE raids and travel bans."