The Royal Scottish Academy in Edinburgh unveils Catherine Opie: To Be Seen from 8 August, a touring exhibition of arresting portraits that place individuals heroically before the viewer, previously shown at London's National Portrait Gallery. This major survey celebrates Opie's career-long commitment to capturing the dignity and complexity of her subjects, from LGBTQ+ communities to surfers and queer families.
Earth Matters and Vestiges
At Inverleith House, Edinburgh, Earth Matters runs until 1 November, featuring artists like Tania Kovats and Alberta Whittle who explore the geological legacy of 18th-century scientist James Hutton. The exhibition examines how Hutton's theories on deep time and erosion continue to influence contemporary artistic practice and environmental thought.
Meanwhile, London's Annely Juda Fine Art presents Vestiges until 28 August, a group show about memory featuring the imaginative paintings of Laura Footes and others. The works probe how recollections are layered, fragmented, and reconstructed through visual art.
Inside Aardman and Ffasiwn
The Young V&A in London invites families to Inside Aardman until 15 November, offering a behind-the-scenes look at the British animation studio behind Wallace and Gromit and Shaun the Sheep. Visitors can explore original sets, props, and models, and even enjoy a slice of wensleydale cheese as part of the interactive summer holiday experience.
In Cardiff, Ffasiwn at the National Museum runs until 4 April 2027, where young people collaborate with artists Clémentine Schneidermann and Charlotte James to deconstruct fashion and identity. The project challenges conventional dress codes and encourages participants to reimagine clothing as a form of self-expression.
Masterpiece: Lorenzo Lotto's Virgin and Child with Saints
The week's highlighted masterpiece is Virgin and Child with Saints by Lorenzo Lotto (1505), on display at the Scottish National Gallery, Edinburgh. Lotto, a master portraitist, brings a gathering of saints to life with intense psychological depth. Two elderly bearded saints, Jerome and Peter, huddle at the left of the Virgin Mary as if in heated conversation: Jerome gazes broodingly at the Christ child, perhaps contemplating his crucifixion, while Peter's strong, almost angry face confronts the viewer directly.
On the other side, Saint Francis of Assisi appears unusually confrontational and impassioned, a departure from his typical humble and gentle portrayal. A mysterious female saint in the shadows remains unidentified, lost in introspection and melancholy that captivates the viewer. Lotto's ability to imbue figures with unexpected, enigmatic character would make him one of history's greatest portraitists.
This early work showcases Lotto's talents to potential patrons, including his skill in landscape painting, reminiscent of contemporaries Giorgione and Titian. In the background, two woodsmen chop down a tree, prefiguring the cross of Christ's death—a violent image set against a calm, green hill under a still blue sky with silky clouds. While the vista is lovely, it is portraiture, not landscape, that would become Lotto's defining legacy.
