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Surrealism goes global, artists open their studios and Damien Hirst shows a macabre master – the week in art | Art and design

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The Burrell Collection exterior image at night

Exhibition of the week

Surrealism Beyond Borders
An ambitious attempt to see surrealism not just as something that happened in Paris, Belgium and Spain but as a global movement with branches from Egypt to Mexico.
Tate Modern, London, 24 February to 29 August.

Also showing

A Century of the Artist’s Studio: 1920-2020
How artists create their own caves of creativity, from Picasso to Walead Beshty and Kerry James Marshall.
Whitechapel Art Gallery, London, 24 February to 29 June.

Carlo Crivelli: Shadows on the Sky
This very likeble Renaissance artist who filled his paintings with fruit, regardless of the occasion, gets a show at a gallery usually dedicated to the contemporary.
Ikon Gallery, Birmingham, 23 February to 29 May.

David Nash: Full Circle
The sculptor shows his drawings and watercolours of trees and nature.
Yorkshire Sculpture Park, 19 February to 5 June.

Keith Cunningham: The Cloud of Witness
Damien Hirst exhibits macabre and melancholy works by a lesser-known School of London painter.
Newport Street Gallery, London, until 21 August.

Image of the week

The Burrell Collection exterior image at night
The Burrell Collection exterior image at night Photograph: Shepherd/Copyright (c) CSG CIC Glasgow Museums and Libraries Collections

After a five-year, £68m renovation, the exceptional and prized 1970s building housing the majestic and abundant Burrell Collection in Pollok Country Park, Glasgow, is now more spacious and visitor-friendly – but at a cost to its original design, argues Rowan Moore in the Observer. “In important ways it’s better than before,” he writes, “but it has become a little more normal.” Read the full review here.

What we learned

Daniel Lismore is a living sculpture

Graphic designer Klaus Staeck’s posters attacked car culture

French art inspired Disney animators

Tate Britain’s “unequivocally offensive” Whistler mural will have new work alongside it …

… while references to Van Gogh’s mental health in souvenirs at a London’s Courtauld Gallery have drawn criticism

Landmark postage stamp designer David Gentlemen has been recognised with a set in his honour

The LensCulture Art photography awards 2022 push boundaries

“I don’t want to have my life in control. I never go to the studio,” says artist Marina Abramović

Empty shops could be studios for the next Bacon or Hirst, says the Whitechapel Gallery’s director

Nigerian artist Ekene Stanley Emecheta removes skin colour and boundaries from his paintings

Masterpiece of the week

The Death of Eurydice by Niccolò dell’Abate about 1552-71
The Death of Eurydice by Niccolò dell’Abate about 1552-71 Photograph: The National Gallery, London

The Death of Eurydice by Niccolò dell’Abate, c 1552-71
While the poet Orpheus hypnotises wild beasts with his lyre, his wife, Eurydice, is chased by a shepherd called Aristaeus, gets bitten by a snake, and dies. The ancient myth of Eurydice’s death, and its eerie aftermath when Orpheus tries to save her from Hades, anticipates the surrealists with its imagery of desire, death and the underworld. Its most beautiful modern telling is Jean Cocteau’s film Orphée. This painting is a kind of prehistory of Cocteau’s vision since it shows how the myth of Orpheus came to France: Niccolò dell’Abate was one of a group of Italian artists employed by the French monarchy at Fontainebleau, who injected a sensual classicism into French culture. In truth, we see the figures here as a parade of cavorting bodies and barely notice the story against the vast, blue, dreamy landscape.
National Gallery, London

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