I must admit that I enjoy killing things and, since the target of my murderous instincts are clothes moths, fruit flies and, occasionally, rats or mice, society condones my bloodthirsty instincts. But while I get some satisfaction from my exploits, the women in Paula Rego’s drawings and prints appear to go about their murderous business with a mixture of resignation and detachment. These things have to be done, their world-weary faces seem to say, let’s expedite them with as little fuss as possible.

Picasso the genius, the sensualist, the womaniser, the priapic beast. This much we think we know of the great Spanish artist. But how about Picasso the political activist? Picasso the supporter of women’s causes? Picasso the… feminist? Oh, yes, that Picasso. In a landmark Liverpool exhibition focusing on the years 1944 to his death in 1973, and bringing together 150 works from around the globe, Picasso becomes all of these things.

This superb exhibition of Italian Renaissance drawings, featuring 100 works and chosen from the outstanding graphic collections of the Uffizi and the British Museum, explores the evolution of the preparatory sketch in the 15th century. We learn how artists began to experiment with the medium in order to create finished paintings that were far more compositionally and stylistically ambitious, far more dramatic and full of movement, than anything that had come before. And though the drawings themselves were never meant to be seen outside the artist’s studio, we learn that by the early part of the 16th century, drawing had gained great importance as a medium in its own right.

This exhibition may claim to reveal the real Van Gogh through his letters, but what of the Sunflowers, the Self-Portrait With Bandaged Ear, oh, and Starry Night, with its roiling night sky and dark, mysterious cypress tree? What even of the dizzying Night Café, with its migraine-inducing electric lamps, its violent clash of reds and greens and the walls that threaten to collapse inwards, as if the painter had been hitting the absinthe all night?

Christmas ballet would be unthinkable without The Nutcracker. But what kind of Christmas should it be? This year the UK fields an astonishing array of visions, from Biedermeier formality at the Royal Ballet, to Fanny and Alexander romanticism at Birmingham Royal Ballet, Elvis cartoons at English National Ballet, and expressionist German psychodrama at Scottish Ballet.