‘She wasn’t very fond of Skipper, our jack russell, who loved the hose. But they were dancing together – two beings in the afternoon sunlight, having their own conversation’

I am an only child. My father was killed in a car accident when I was 14 and my mother was 47. We were really tightly bonded after that. She worked at a university and was an artist: she painted and carved birds. She was a wonderful person, who lit up a room and was someone everyone wanted to be around. She was very giving.

Later in life, she developed dementia. I left my teaching position to stay home and look after her. She was very active – she would go outside and rip up bulbs, put the horses in the wrong stalls. It was very stressful to come home – I would enter the driveway and think: “Oh my word!”

In 2010, the photographer Aida Muluneh created the Addis Foto Fest in Ethiopia’s capital to showcase talents from Africa and beyond. Since the pandemic, the event has boomed online to include work without borders

The artist and his wife, novelist Kiran Millwood Hargrave, lost seven pregnancies before their daughter was born. They explain how his nude paintings of her helped them process their grief – and eventual joy

‘The subject comes with huge baggage and I like that,” says Tom de Freston. The painter and I are in his studio in a village outside Oxford, surrounded by nude portraits of his wife, the novelist Kiran Millwood Hargrave. “I wanted to ask, ‘What does it mean as a male artist to be looking at the female figure? And where does the agency sit?’”

We have been talking about Titian’s Poesie series, how those paintings – commissioned by the most powerful man in the world at the time, King Philip II of Spain – fetishise the naked female body. “Obviously there’s other things going on in them … I think Titian’s often prodding at morality and power,” De Freston says.

A Shakers-inspired exhibition has united the three-time Oscar winner and conceptual artist Suzanne Bocanegra

A small-town police chief of plainspoken decency in Fargo. A working-class mother driven to seek justice for her daughter in Three Billboards Outside Ebbing, Missouri. A modest, resilient woman finding dignity in life on the road in Nomadland.

The actor Frances McDormand’s three Oscar-winning performances display rare versatility but have empathy at their core. But qualities were on display last week when she joined the conceptual artist Suzanne Bocanegra at the opening of an exhibition featuring adult-sized cradles.

Tate Britain, London
JMW Turner is beaten by John Constable in this mighty show. But who cares when the work is so sublime you can hear the squelching and smell the river?

Turner or Constable: who’s the boss? Tate Britain’s exhibition of work by the two artists, subtitled Rivals and Originals, fudges the question. Born a year apart and both alumni of the Royal Academy schools in London, each was keenly aware of what the other was doing, in a British art world that was as febrile and competitive, if immeasurably smaller, than it is today (although you should try the Italian Renaissance if you want full-blooded rivalries and enmities). Sometimes, they sought the same collectors and painted the same subjects. Turner was encouraged from an early age by his father, a Covent Garden wigmaker and barber; Constable was the son of a Suffolk mill owner and grain merchant who wanted him to take over the family business.

As well as their contrasting backgrounds, their temperaments could not have been more different. A scene from Mike Leigh’s 2014 film Mr Turner, starring Timothy Spall as Turner and James Fleet as Constable, plays in the show, presenting the two painters bickering on Varnishing Day at the Royal Academy in 1832. Turner added a touch of red, in the form of a buoy, to his seascape Helvoetsluys; the City of Utrecht, 64, Going to Sea in order to upstage Constable’s The Opening of Waterloo Bridge, on which the painter had been working for more than a decade. But whatever their rivalry entailed, it was hardly the odd-couple bromance between Van Gogh and Gauguin depicted in the 1956 Vincente Minnelli movie Lust for Life (Gauguin: “You paint too fast!” Van Gogh: “You look too fast!”). It is worth remembering that Constable once wrote in a letter: “Did you ever see a picture by Turner, and not wish to possess it?”

A RIBA report says “stark displays of sexism” are driving women from the profession. If we don’t fight this systemic misogyny, we won’t just lose dazzling designs – we’ll have a world only fit for 6ft tall policemen

If one were to think “Brazilian 20th-century modernist genius”, one might alight on Oscar Niemeyer, but see also the Italian émigré Lina Bo Bardi, who developed an Italian-style modernism with a Brazilian accent in her adopted homeland. Her Teatro Oficina, in São Paulo, was named by this paper as the best theatre in the world.

Five hundred miles away is one of my favourite residential buildings, A la Ronde; an eccentric 16-sided home in Exmouth, Devon. It was designed in 1796 by Jane and Mary Parminter (two “spinster” cousins, in the words of the National Trust) and relative John Lowder. The cousins, who were not professionals, had been inspired by their Grand Tour of Europe (an unusual undertaking for women at the time) and, in particular, the Basilica of San Vitale in Ravenna, Italy. The critic Lucinda Lambton described the cottage orné with Byzantine inflection as embodying “a magical strangeness that one might dream of only as a child”.