Charles Darwent on art: Saloua Raouda Choucair - An eye on the future, a feeling for the past

Influenced by Matisse and Léger, inspired by science, maths and architecture, an enduring Lebanese artist gets her deserved retrospective

Madonna and Child, 2011 by Celia Paul

Art review: Celia Paul: Recent Work and Separation, Marlborough Fine Art, London

Celia Paul is the least noisy portrait painter in oils imaginable. Her subjects - which usually tend to be relatives, close friends or herself - exist within a kind of religiose hush of rapt self-absorption.

Floral tribute: Still Life #2, the ‘deeply un-avant garde’ work of Paul Nash in 1927 appealed to an English audience

Charles Darwent on art: Paul Nash, The Clare Neilson Gift - A modernist moment in the sun, and retreat to the shade

Like many British artists, Paul Nash was drawn to Paris but felt impelled to play safe at home

Light box: The new atrium opens up and illuminates the Rijksmuseum

Charles Darwent on the Rijksmuseum reopening: At last, the Dutch really do go Dutch

There's a very national flavour to the triumphant and long overdue relaunch of Holland's great museum. Just watch out for the bikes ....

Ilya and Emilia Kabakov, The Happiest Man (****) and Two Mountains (**)

Ambika P3, London/ Sprovieri Gallery, London

BC Reloaded, 2012. Bernadette Corporation with Benjamin Alexander Huseby. Courtesy the artists and Greene Naftali Gallery, New York; Cabinet, London; Galerie Meyer Kainer, Vienna; Galerie NEU, Berlin.

Bernadette Corporation, 2000 Wasted Years, ICA, London

“I had never been cool. I liked the same music as my mother,” writes an anonymous member of Bernadette Corporation, the New York artists’ collective, founded in the early 90s, whose oeuvre spans fashion, literature, film, and installation.

Life and death in Pompeii and Herculaneum – British Museum: Priceless treasures from the cities destroyed by the Mount Vesuvius eruption will aim to satisfy the international fascination with the disaster when screened on 18 June

Charles Darwent on art: Life and Death in Pompeii and Herculaneum - The day that death hung on the breeze

As Vesuvius erupted, a strong easterly condemned two towns to extinction – and immortality – as an outstanding exhibition recreating Roman life shows

Moore’s Vertebrae is juxtaposed with Rodin’s The Burghers of Calais

Visual art review: Rodin comes acalling at Henry Moore's place ... it's the great bronze off!

Defy the traffic beside the Houses of Parliament and you can see, to one side, Henry Moore's Knife Edge Two Piece and to the other, Rodin's The Burghers of Calais. Or you could do, until what the French sculptor called "my novel" was trundled up the A10 to Perry Green in Hertfordshire, to Moore's home, studio and gardens. Here, for the first time, the great modernist's work is being shown alongside that of another artist. Other collaborations will follow, but Rodin is the obvious first guest – Moore treasured an early volume about him, bought his work, liked the things he liked.

Joan Harris (Christina Hendricks), from Mad Men

The Mad Women of Mad Men actually represent us all

Behind every successful Mad Man is a female character that any actress would audition every day for a year to play. Mad Men may be set in a world where gender equality is a distant dream, but it's written and produced in the future: by the third season, more than half of its writers were women, which is a vanishingly rare statistic.

Ahmed Mater, Golden Hour, Desert of Pharan series. Still courtesy of the artist

Art review: Sharjah Biennial, Re:emerge: Towards a New Cultural Cartography

In an age of confusing, sprawling art exhibitions, the current Sharjah Biennial stands out as an intelligent, tightly curated show featuring some hard-edged works that ever so slightly unsettle the delicate political and cultural ecosystems in the Gulf.

Sports fans: Americans at play in Love of Winter

Charles Darwent on art: George Bellows was knock-out – but he was always playing catch-up

The star of the Ashcan School was influenced by the Impressionists. Yet for all the surface charm, his work shows a fear of what lies beneath

Craigie Aitchison’s ‘Boat at Sunset’ (1990)

He comes in colours: Craigie Aitchison at the Waddington Custot Galleries

Scottish painter Craigie Aitchison was dismissed by some critics as twee. But the brightness and warmth in his work give it a compelling edge, as Adrian Hamilton discovers at the first show since the artist's death

Lost in space: Mark Wallinger’s labyrinths for Tube stations at Oxford Circus

Mark Wallinger, Labyrinth, London Underground Tube Stations, London

“You learn to know where people want to go even if they don’t know themselves,” one tube employee at Bank station told me, as I wandered around the labyrinth of tunnels, escalators, and platforms in search of Mark Wallinger’s own Labyrinth – artwork number 142 out of 270.

Water World: David Maisel’s Lake Project

Photography review: Landmark, the Fields of Photography - Planet Earth in all its glory and the macabre beauty of desecration

In a show of exuberant generosity and breadth, images of natural beauty and brutal destruction jostle with Flickr fun

Lost in space: Mark Wallinger’s labyrinths for Tube stations at Oxford Circus

Charles Darwent on Mark Wallinger: Underground artist leads travellers astray

Mark Wallinger's new commission, 'Labyrinth', aims to subvert London Underground's iconography and disorient the viewer

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