The war was over, Picasso was finally free to leave the privations of Paris behind him and to spend more time in the South of France, marking a return to his Mediterranean heritage. The Gagosian Gallery’s exhibition, curated by Picasso’s distinguished biographer John Richardson and the artist’s grandson Bernard Ruiz-Picasso, focuses on those Mediterranean years, between 1945 to 1962, when the artist was moving easily between styles.

Bill Cooper photographed the Laurent Pelly production for The Royal Opera of Donizetti's La Fille du régiment, designed by Chantal Thomas and Laurent Pelly, conducted by Bruno Campanella, and starring Natalie Dessay and Juan Diego Flórez. Here is a selection of images, and you can read theartsdesk review here.

The Welsh landscape promoted by the tourist board is a known entity. Postcard photographers patrol its contours waiting for the rains to desist and the sun to peer out so that they can snap splendid estuaries, meadowed shores patrolled by a lone diesel train, elegant county towns hibernating in the fold of a loafy hill, aqueducts and crumbling abbeys, beetling peaks and labyrinthine ravines. These photographs by James Morris, from a new exhibition and book, find another, sterner Wales imposed on the old familiar template.

Johan Persson took the photographs for The Royal Ballet's world premiere of Liam Scarlett's Asphodel Meadows, which opened on 5 May 2010. Read theartsdesk's review of the ballet here.

One can hardly imagine the spiky dervish Grace Jones sitting still for a second, let alone remaining motionless long enough to have photographs (and plenty of them) taken for her portrait. Nevertheless, Chris Levine has managed to pin her down - in a manner of speaking. Levine's exhibition at the Vinyl Factory - Stillness at the Speed of Light - captures the performance artist's restless activity in a very clever way: several of his portraits are in fact lenticular 3D portraits - holograms.