The National Gallery of Canada offers a rare opportunity to view three paintings by Gustav Klimt (1862-1918), one of the greatest painters of the twentieth century, owing to a long term loan from a private collection. Portrait of Elisabeth Lederer (1914-16), a commanding example of Klimt’s trademark female portraiture, and Forest Slope in Unterach on the Attersee (1916), a lush example of Klimt’s lesser-known, yet equally impressive landscape paintings, are now on view in the European galleries, along with Hope I (1903), which the Gallery purchased in 1970. Hope 1 is the only painting by Klimt in a Canadian public collection. “This long-term display is an unprecedented opportunity to see three exceptional Klimt paintings together in Canada, ” said NGC Deputy Director and Chief Curator Paul Lang. “It enables the Gallery to offer a complete survey of the artist’s work spanning two decades of his career. A

The origins of early English graphic design are explored in a new exhibition on view at the Bodleian Libraries’ Weston Library. Designing English: Graphics on the Medieval Page, open from 1 December 2017, brings together a stunning selection of manuscripts and other objects to uncover the craft and artistry of Anglo-Saxon and medieval scribes, painters and engravers. Designing English looks at the skills and innovations of these very early specialists who worked to preserve, clarify, adorn, authorize and interpret writing in English. For almost a thousand years most texts had been written in Latin, the common European language. Beyond the traditions established for Latin, books in English were often improvisatory, even homespun, but they were just as inventive and creative. In an age when each book was made uniquely by hand, each book was an opportunity for redesigning. The introduction of the English text posed questions:

To mark the recent celebration of the Museum’s 198th anniversary, as of today the Museo del Prado in collaboration with Telefónica has made its digitalised documentary holdings available to the public. The archive spans documents dating from 1814 on the creation of the design for a new museum to recent ones from the Museum’s archive; documentation generated by the Museo de la Trinidad which offers an account of its activities from 1839 to its fusion with the Prado in 1872; and letters, personal and professional documentation relating to prominent cultural figures who had close ties to the Museum, such as the Madrazo family and Valentín Carderera. Taken as a whole, this material allows for a study of the Museo del Prado’s almost 200 years of existence and by extension the history of Spanish culture in the 19th and 20th centuries. The Prado’s archive houses documents created and received by the institutio