The power of Auerbach, the perils of Venice and the seaside pleasures of Martin Parr – the week of art | Art

Exhibition of the week

Frank Auerbach: Invisible
One of the most powerful painters of modern times gets a glimpse of his work so far.
Newlands House GalleryPetworth, from April 2

Also showing

The Grand Canal, Ascension Day: Embarkation of the Doge of Venice for the Adriatic Wedding Ceremony… from the Woburn Abbey Canaletto Collection at the National Maritime Museum, London. Photograph: Woburn Abbey Collection

The Venice of Canaletto revisited
Twenty-four views of 18th century Venice already reveal its decadence, while a final section brings the peril of the city up to date.
National Maritime Museum, Greenwichuntil September 25

Inspire Walt Disney
How exquisite artifacts from 18th century France fueled Disney films. If talking teapots are your thing.
Wallace Collection, LondonApril 6 to October 16

Parr's point of view… Martin Parr at the Giant Gallery.
Parr’s point of view… Martin Parr at the Giant Gallery. Photography: Martin Parr/Magnum Photos

Martin Parr: Life is a Beach
Inimitably tacky and compassionate photos of British beach life, displayed in a seaside gallery.
Giant Gallery, BournemouthApril 2 to June 26

The wig
Gianmaria Andreetta, Megan Plunkett, Richard Sides, Jason Hirata and Angharad Williams in a collective exhibition with a big name and a thesis on postmodern artifice.
Mostyn, Llandudnountil June 12

Picture of the week

Love & Justice – A Journey of Empowerment, Activism and Embracing Black Beauty by Laetitia Ky, photography by Laetitia Ky (Princeton Architectural Press, £19.99) Released April 5
Excerpt from Love & Justice by Laetitia Ky

Ivory Coast-born artist Laetitia Ky connects hair extensions to her natural hair and then molds them into shapes, sometimes using wire and glue. His extraordinary sculptures – towering growths of coils and loops – challenge taboos. She opened up about how learning to love her natural hair taught her to love being a black woman – and Western criticism of her work. Her book Love and Justice: A Journey of Empowerment, Activism, and Embracing Black Beauty (Princeton Architectural Press, £19.99), is out April 5. Read the interview here.

What we learned

Barbara Walker continues to highlight the black figures of classic art

Australia’s Indigenous Art Triennial celebrates Aboriginal knowledge in ‘the heart of the sacred land of Whitefella’

British Museum faces legal action over refusal to allow 3D scanning of Parthenon marble piece

Trinidad-born textile artist Althea McNish made Britain flourish in the 1950s and 1960s

William Morris’ home in the Cotswolds has been restored to its former glory…

… but Britain is in the grip of the wrecking ball

Joel Meyerowitz’s seminal Redheads photobook has been re-released with new images

Anna Neubauer’s best photo is a kiss

The Oxford house with a shark sculpture on the roof is now a heritage site

masterpiece of the week

The deposition of Ugolino di Nerio, 1325-1328
Photograph: Peter Horree/Alamy

The deposition of Ugolino di Nerio, 1325-1328
It is one of the most moving and overwhelming scenes in Christian art. The gentle descent of the dead Christ from the cross will be painted with poetry and ingenuity by Rogier van der Weyden, Michelangelo, Pontormo, Rubens and many others, over the centuries. But here it is clearly told in a work from before the Black Death. The almost naked dead man seems almost to respond to his mother Mary who kisses him. The Madeleine in a red dress strokes his arm. In distressing realistic detail, giant pliers are used to tear out the fingernail that grips his feet. These deeply human encounters around the cross helped to make history immediate for everyone. They still do, if you let your emotions respond to the agony of this painting.
National Gallery, London

do not forget

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