Anyone lucky enough to have a garden will be newly appreciative of the oasis that even the humblest of outdoor spaces can provide. Based on the Royal Academy’s hugely successful 2016 exhibition of the same name, and broadcast on Monday evening by Exhibition on Screen via Facebook, Painting the Modern Garden opened the door to a different world.

Newly conserved and restored, the eight exterior panels of Jan Van Eyck’s Ghent Altarpiece, 1432, are the focus of an exhibition at the Museum of Fine Arts in Ghent, cut short by Covid-19, but now available to view via an online tour.

As the art world adjusts to our new reality, social media has allowed galleries and museums to remain open in spirit at least. Tate has kept up a stream of pictures, films and activities for children, while the often brilliant Royal Academy twitter account dispenses a daily dose of silliness via #radailydoodle.

One year on the world is drastically altered, but footage of Notre Dame’s stricken spire collapsing in flames is no less shocking. That this event, endlessly replayed, has not paled against the new reality of daily death tolls is testament to the scale of the loss. As the rector of Notre Dame, Patrick Chauvet put it: “Notre Dame is not just Paris, it’s France and beyond France, it’s the world.”

Normally we'd put a descriptor - "cellist", "film maker", "techno producer" for example - in the title of this interview, but for Irina Nalis there isn't space. Like, "10 Questions for psychologist, ministerial adviser, festival founder, architectural consultant, digital humanism activist and techno veteran Irina Nalis" wouldn't fit across the page. But that's the multidisciplinary world for you.

What a spooky exhibition! Léon Spilliaert suffered from crippling insomnia and often spent the nocturnal hours in the conservatory of his parents’ house in Ostend drawing his haggard features (pictured below right: Self-portrait, 1907). His shock of blond hair catches the light as it billows in an agitated swirl above his head, as though expressing a turmoil of inner disquiet.

Paradise, according to German artist Thomas Struth, is to be found in the tropical rain forests of Yunnan Province, China. His gorgeous photograph Paradise 11 is the first thing I saw on entering the Hayward Gallery and, immediately it had a soothing effect on my frazzled urban psyche.

A young woman sits sewing (pictured below right: Young Woman Sewing,1655). She is totally immersed in her task, and our attention is similarly focused on her and every detail of her environment. The cool light pouring though the window illuminates her work and also gives us a clear view. She sits on a wooden platform that raises her above the cold floor tiles; on one side of her is a linen basket and, on the other, an ebony chair, its carved back and legs picked out with gleaming dots of light.

Bill Brandt’s photographs and Henry Moore’s studies of people sheltering underground during the Blitz (September 1940 to May 1941) offer glimpses of a world that is, thankfully, lost to us. A year and a half after the end of the bombing campaign, the work of the two artists was published side-by-side in the December 1942 edition of the pioneering illustrated magazine, Lilliput.