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“... A canvas​ begun in the autumn of 1848 and finished the following spring is, at four foot eight inches wide, one of the heftier items in Delacroix and the Rise of Modern Art, an exhibition at the National Gallery (until 22 May) in which paintings by Eugène Delacroix mingle with others by artists he influenced. In factual terms, Delacroix presents us with a September evening in a country garden, in which the last light lingers on a basket piled deep with produce and on the roses and hollyhocks overhead ...”

“... My grandmother was the painter Vanessa Bell. She died aged 81 when I was eight. I loved my grandmother, but 39 years later I have few memories of her. If, that is, a ‘memory’ is some kind of private mental property. The picture I have of her may be faintly tinted by first-hand experience, but its contours come from public documentation ...”

“... Gaius​ Suetonius Tranquillus was a scholar and man of letters on the imperial payroll in early second-century Rome. Around 120 ce he completed his Lives of the Caesars, a set of biographies informed by his access to official libraries and his longstanding insider status at court. Suetonius began with the career of Julius Caesar, whose rise to political supremacy 170 years earlier had marked the end of republican Rome ...”

“... Whatever​ the Laughing Cavalier is so pleased about, I’ve no wish to know. That bumptious bar-room menace from the Wallace Collection has me taking to my heels. I gravitate instead towards a black-hatted roué from the Fitzwilliam, more at ease with his slouch and sad wry smile. Elsewhere in the National Gallery’s Frans Hals exhibition (until 21 January), a debonair 12-year-old in a family group from Madrid looks up and away from dad, who is busy rolling bedroom eyes at mum, his demure elder sister and the household’s glum African servant boy ...”

“... The Luncheon’, a canvas three feet nine inches high and five feet wide, dominates the opening gallery of the Royal Academy’s exhibition Manet: Portraying Life (until 14 April). In a sense it dominates the whole show, since the deep charcoal grey in which all the RA’s first-floor galleries have been painted takes its cue from the painting’s background hue ...”

“... Millais was adept at many things. At theatre, for instance: in his 1878 Royal Academy showpiece, he cast the supposed murder victims of Richard III as two pretty, tremulous schoolboys poised on a dungeon’s downward-winding stair, their spotlit heads peering into the darkness confronting them, hands anxiously linking, blond chevelures merging into one ...”

“... A burnished pauldron​ – the cupped steel armour protecting a soldier’s shoulder – gleams at the centre of Caravaggio’s The Taking of Christ, which in turn forms the centrepiece to the National Gallery’s exhibition Beyond Caravaggio (until 15 January). The painter keeps pace with the armourer. He flaunts an immaculate curving surface on which his own brushstrokes, like the hammer blows that preceded them, have cancelled themselves out, the better to celebrate the metal – both its hard inward darkness and the way it flashes back light ...”

“... There​ are the known unknowns: the 52 sarsens – ‘Saracen’ stones, accessories to un-Christian religion – clustered on the bare Wiltshire upland. It is now agreed that the boulders of quartzite, weighing on average 25 tons, arrived at the site around 2500 BCE after a twenty-mile journey from the slopes south of Marlborough, and that the 44 bluestones nestled among them, igneous rocks of between two and five tons, had come eight times as far, from a hillside in Pembrokeshire ...”

“... Somewhere in London, two heads would be nodding together: one tall like the boulder topping a cairn, the other broadened like a Hallowe’en pumpkin. Two lordly sensibilities, the heterosexual critic and the homosexual artist, had converged to discuss painting and the human condition. The thought that David Sylvester and Francis Bacon were caught up in this dialogue seemed at once daunting and salutary to some of us then learning to paint in the same town ...”

“... The pigments​ in paintings of Cezanne’s middle age cluster like gangs in a schoolyard. Cobalt, ultramarine and Prussian blue cleave to a bay or bolt of fabric. Emerald and viridian occupy pears, jars and foliage. The biggest grouping, the ochres and terracottas, huddle around roofs or rocks or bathers, while fiercer heats – oranges, lemons, apple reds – tear away from them, reaching for their respective fruits ...”

“... People talk​ of painted eyes in portraits that ‘follow you round the room’. T.J. Clark, in the third of the six essays collected in his new book, Heaven on Earth, strangely inverts this. Studying the hall depicted in Poussin’s Sacrament of Marriage (now in Edinburgh), he senses that a painted figure’s eyes – eyes that are out of sight – are moving across the space, their attention straying sideways ...”

“... At the corner of Marsham Street and Horseferry Road stands the new Home Office building, designed by Terry Farrell and Partners. It was opened in 2005 and everything still looks just as it should. Along the Marsham Street frontage big plinths present crisp rectangles of grass and brimming water, orderly packages of the organic. The long, grey slatted façade that rises above them is punctuated by a white lattice over the entrance, a schematic town plan composed of 64 variously chopped-up chequers ...”

“... meaningful term. As is her claim that the wartime murals done by Duncan Grant and Vanessa Bell in the Sussex church of Berwick, 30 years after their moment at London’s artistic forefront, somehow represent a ‘homecoming of modernism’: on the contrary, the artists were reverting to their Slade education in Italian fresco as if they’d never seen ...”

“... the main studio teacher Claude Rogers stuck in the Sappers and the school’s polemicist Graham Bell, shortly to die in air training, berating Coldstream for a lack of radicalism. Coldstream had recently saved a further colleague, Victor Pasmore, from court martial for desertion by leaning on Kenneth Clark to vouch for him as ‘one of the six best painters ...”

“... in painting’ – in the secure hands of William Orpen, Laura Knight and Robert Anning Bell. (Now that Modernism is orthodoxy, we forget how marginal its initial hold was.) When, after the war and a period of personal troubles, Sickert returned to the critical fray, he had become the genial, roguish grandfather of art, indulgently supportive of ...”