Half of Wales is visible from the blustery summit. “Of all the hills which I saw in Wales,” recalled George Borrow, author of the prolix Victorian classic Wild Wales, “none made a greater impression upon me.” He was not alone. Arenig Fawr, a southern outcrop of Snowdonia, was also the entry point for British art into Post-Impressionism. This at any rate was the claim of a scenic documentary which joined Augustus John and his young protégé James Dickson Innes on their productive two-year sojourn at the foot of the mountain.

The Tretyakov Gallery is currently housing a landmark exhibition to mark the 150th anniversary of Isaac Levitan. His glorious “mood landscapes” catch the understated beauty of provincial Russia, with an often gloomy philosophical perspective behind them, as he considers man’s insignificant place in time and history. But the show reveals lesser-known sides to his work too, and reminds us again that his close friendship with Chekhov was a remarkable artistic-literary alliance.

To anyone less than familiar with a transatlantic migration of 150 souls which took place in 1865, a bilingual film with dialogue in Spanish and Welsh may look like a subtitled bridge too far. Any such prejudgement would be a mistake. Patagonia is a film rich in cinematic textures which visits not one but two ravishing parts of the world rarely celebrated in widescreen. The fact that it has a lovely little cameo from Duffy, making her acting debut and contributing (in Welsh) to the soundtrack, is an extra recommendation.

A retrospective at Tate St Ives can be a poisoned chalice for the major artist. It postpones his or her prospect of a showing at Tate Britain by a couple of decades, and can appear to consign them to the comfort zone of "Cornish Art": the heritage Modernism of Barbara and Ben, Terry Frost, Patrick Heron et al, stuff we love (well, most of us) because it reminds us of being on holiday, but may feel, in our heart of hearts, to be more than a touch minor. On the positive side, Peter Lanyon, who was killed in a gliding accident in 1964, isn’t around to mind, and there’s something to be said for being able to look from one of his lyrical canvases straight out at the surf crashing on Porthmeor Beach and the edge of the windswept, ancient landscape Lanyon regarded as his personal Calvary.

It is one of the enduring mysteries of Leon Kossoff’s art. How does someone who uses such thick, impastoed paint and such muddy, earth-toned colours make his work so light, so delicate, so filled with grace? The more you look, the more mysterious is becomes.

As befits a film set in Tuscany, Certified Copy is an international affair. It stars Juliette Binoche as a French gallery owner and William Shimell as an English art historian. Its Iranian director is Abbas Kiarostami. The dialogue is in three languages. It’s the latest of la bella Toscana’s many starring roles in what’s been - let's face it - a chequered sort of film career.

Life changes at such speed in cities that it seems as if all the world must move at the same pace. Photographs prove otherwise. Looking at the two portfolios of West Country photographs below, you could surely not readily believe that more than a century separates them. James Ravilious's Devonian sheepfarmers and John Wheeley Gutch's Cornish fishermen have worked natural resources for centuries - the fact that the images lie 130 years apart are purely an indication that while technique changes, human interest does not.

James Ravilious