A respected Italian art scholar claims to have identified a previously unknown painting by Michelangelo at the University of Oxford.
The week in books
Slow Italian art cinema might not set the pulse racing, but be patient: with barely a word of dialogue, this gentle drama is beautiful, mysterious and funny
My parents were... very kind people. My father was in the RAF and my mother trained as a nurse. I had a very distant relationship with them, though, mostly because of their work commitments.
It's not every day that you can boast about being on Jelly Baby cleaning duty. But that was the situation yesterday for a worker at London's Marble Arch, where Italian artist Mauro Peruchetti's glossy sculpture Jelly Baby Family is on display.
Musée des Beaux-Arts, Nice
Sample life in the shadow of Vesuvius this autumn with an eruption of stunning views, sumptuous cuisine and fascinating heritage.
He's been accused of plagiarism, painting by numbers and shameless commercialism, yet Jack Vettriano has still managed to produce the most recognisable, and popular, art work of the last 20 years with The Singing Butler. It hasn't made him happy, though, he tells Alice Jones
A new show unites Raphael's designs and the tapestries based on them for the first time since they were commissioned for the Sistine Chapel. By Michael Glover
Iconic artist, evangelical smoker and avid technophile, the boy from the Broad Acres looks forward to a new season at Glyndebourne. Michael Church meets David Hockney
Art experts in Rome are analysing what they believe is a previously unknown painting by the Italian Baroque master Caravaggio.
The Royal Collection, London
Italian researchers believe they have found the remains of Caravaggio, but 400 years later some of the mysteries surrounding the death of the master artist may never be solved.
National Museum, Stockholm
The apparent simplicity of the representational paintings, drawings and prints made by Avigdor Arikha over the last four decades of his life masked a rare sophistication and visual intelligence that bridged the modernist avant-garde of pure abstraction with traditions of observational drawing and painting stretching back to the Renaissance and beyond. He was truculently insistent that he was not part of any "return to figuration", but rather had found his own way as "a post-abstract representational artist".
This tiny exhibition may lack the Renaissance A-listers, but it spans the short, unsteady step to the Baroque with convincing panache