Commencing

David Hockney RA: A Bigger Picture demonstrates the Yorkshire artist's long exploration and fascination with the depiction of landscape. David Hockney's vivid paintings inspired by the Yorkshire landscape, many large in scale and created specifically for this exhibition, are shown alongside related drawings and films. Through a selection of works spanning 50 years, this new body of work is placed in the context of Hockney's extended preoccupation with landscape. Hockney's involvement with the depiction of space is traced from the 1960s, through his photo collages of the 1980s and the Grand Canyon paintings of the late 1990s, to the recent paintings of East Yorkshire, many of which have been made en plein air. These include 3 groups of new work made since 2005, when he returned to live in Bridlington, showing an intense observation of his surroundings in a variety of media. Hockney has always embraced new technologies, and recently he has used the iPhone and iPad as tools for making art. A number of the iPad drawings and a series of new films produced using 18 cameras are displayed on multiple screens, providing a spellbinding visual journey through the eyes of David Hockney. The exhibition reveals his emotional engagement with the landscape he knew in his youth, as he examines on a daily basis the changes in the seasons, the cycle of growth and variations in light conditions. Royal Academy until 9th April.

Bond In Motion marks the 50th anniversary of the James Bond film series with the biggest exhibition of Bond vehicles ever staged. Cars used in films starring Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig all feature in the exhibition, including the record breaking Aston Martin DBS stunt car from 'Casino Royale'. The 50 vehicles in the display range from the real to merely fanciful, including the legendary Aston Martin DB5 seen in a number of films, with its many gadgets and ejector seat, alongside bikes, trikes, sleds and boats. Highlights include the Jaguar XKR with grille-mounted machine guns, a rear-mounted Gatling gun and boot-mounted mortars from 'Die Another Day'; the Lotus Esprit S1 that dived underwater in 'The Spy Who Loved Me'; the Fairey Huntress Speedboat from 'From Russia With Love'; Goldfinger's 1937 Rolls-Royce Phantom III; the AMC Hornet from 'The Man With the Golden Gun'; the Little Nellie autogyro from 'You Only Live Twice'; the Ford Mustang Mach I from 'Diamonds Are Forever'; the Citroen 2CV from 'For Your Eyes Only'; the folding Bede BD5 Acrostar Jet from 'Octopussy'; the SFX Cello Case Ski from 'The Living Daylights'; the Rolls-Royce Silver Shadow II from 'The World Is Not Enough'; and the Aston Martin DBS from 'Quantum Of Solace'. National Motor Museum, Beaulieu, Brockenhurst, Hampshire, until 17th January.

Stephen Hawking: A 70th Birthday Celebration acknowledges the landmark birthday of the world's best known physicist, exploring the relationship between the his scientific achievements and his immense success in popularising astrophysics. The display celebrates Stephen Hawking's life and achievements and features objects and papers primarily sourced from his own archives. Over a career that has lasted much longer than originally anticipated, Hawking has wrestled with the origin of time and the universe, and made many fundamental contributions to cosmology. In addition, he has probably done more than anyone else to popularise these extraordinary ideas, inspiring both the public and the next generation of scientists. The exhibition features two main strands: Hawking's scientific work and his public profile. It features audio, specially recorded by Hawking, and a projection of photographs from his life and career, many previously unseen, together with a new series of photographic portraits taken by Sarah Lee in his office at the University of Cambridge in December 2011. The show encourages visitors to reflect on the relationship between Hawking's scientific achievements, particularly the work that established his reputation in the 1960s and 1970s, and his immense success in popularising astrophysics. Science Museum until 13th April.

Continuing

Scott's Last Expedition goes beyond the familiar tales of the 3 year journey to the South Pole, and the death of the polar party, to explore the Terra Nova expedition from different angles. The focus of the exhibition is on the everyday stories and activities of the people who took part, looking at what they ate, the clothes they wore, the tools they used, their scientific work, and the unforgettable human endurance. It also documents the huge amount of planning involved prior to the commencement of the polar journey. Captain Robert Falcon Scott stated that reaching the South Pole was one of the expedition's main aims, but an ambitious programme of scientific investigation and geographical exploration was also carried out. The scientific work by the team covered meteorology, geological and zoological studies and investigations into glaciers. The exhibition features documentary photographs and over 200 rare specimens and original artefacts, displayed alongside a life-sized representation of Scott's hut from the base camp at Cape Evans, which still survives in Antarctica. Among the objects on display are an emperor penguin's egg, one of 3 collected during the expedition, which remain some of the most precious ornithological specimens on the planet; a sea sponge, still green over 100 years on; and a Brittle Star star fish, which sports long flexible arms to capture prey, found throughout Antarctic waters. Many items, such as clothing, skis, food, tools and diaries are being shown together for the first time. Natural History Museum until 2nd September.

Tom Hunter: A Midsummer Night's Dream features a series of photographs inspired by Shakespeare's A Midsummer Night's Dream and the paintings of the Romantic artist Henry Fuseli. Taking key moments from the play, Tom Hunter has distilled Shakespeare's work into images that weave together contemporary city life with that of the timeless tale of love and illusion. Hunter is best known for his photographic reworkings of old master paintings, and his take on the play focuses on real lives and communities in Hackney where he lives and works. By using different groups in his neighbourhood, new meanings are given to the everyday. In the photographs, commonplace environments and situations are transformed and put under the limelight to create a magical spectacle, encouraging the viewer to think of the ordinary as extraordinary. Hunter's Titania is an exotic samba dancer stretched out on a table at a local snooker hall, Helena is a pole dancer at a strip club, and the 'Rude Mechanicals' a female thrash metal band rehearsing in a back room Just as the characters in A Midsummer Night's Dream perform plays within a play, the models in Hunter's tableaux are players in their neighbourhoods. At first glance the images look contemporary and the subjects ordinary, but as the series unfolds so does the magic of Shakespeare's tale with its themes of love, lust, jealousy and illusion. Royal Shakespeare Theatre, Stratford upon Avon until 1st April.

Landscape, Heroes And Folktales: German Romantic Prints And Drawings explores the visual arts in Germany of the late 18th and early 19th centuries, a time of great cultural flowering, complemented by a growing sense of national identity. The Napoleonic wars in Europe caused economic ruin and the dissolution of the Holy Roman Empire, the medieval structure which had held the loose conglomeration of German states and principalities together for centuries, causing German artists to seek a new identity. Some returned to the values and techniques of medieval and Renaissance art as part of this process, particularly striking in the draughtsmanship of Peter Cornelius, or the work of Friedrich Overbeck, whose composition, 'Italia and Germania', epitomised the mood of the period. Schnorr von Carolsfeld spent most of his life working on designs for an ambitiously illustrated 'Picture Bible', all deeply imbued with Raphael's style. The most striking prints of the period were made in the recently invented technique of lithography, such as the 'Portrait of the Eberhard brothers' by Johann Anton Ramboux, or the set of landscapes of days of the week showing views around Salzburg by Ferdinand Olivier. In contrast to Italianate classical views so typical of the 18th century, delicate studies of plants and trees and large prints and drawings of a rugged countryside reveal a much deeper interest in Germanic landscape. A group of wildlife watercolours by Wilhelm Tischbein are remarkable for their freshness, and etchings by Carl Wilhelm Kolbe, show idyllic scenes of lovers in verdant woodland glades. The greatest and rarest of German romantic prints on view is 'The Four Times of Day' by Philipp Otto Runge. British Museum until 8th April.

War Horse: Fact And Fiction explores the stage and film adaptations of Michael Morpurgo's novel, which tells the story of a horse sent to the front in the First World War and his young owner's quest to find him, alongside real life stories of war horses and the soldiers who depended on them. The exhibition traces the history of the war horses through centuries of army life from the Battle of Hastings onwards, with paintings, illustrations, personal testimony, photographs, artifacts and memorabilia, interweaved with props, costumes and Handspring's life sized puppets used in the National Theatre's stage adaptation, and images from the Steven Spielberg film. In the First World War, there were more than 6 million horses and mules, and judging by the British statistics, almost half died of disease or were killed in conflict, and only a handful, mainly officers' privately owned mounts, ever came home. The best of the survivors were sold overseas as riding horses, the next as work horses, and the rest to butchers for human consumption. The exhibition also touches on the fate of those horses, and how they were helped by charities such as the Brooke animal hospitals (founded by Dorothy Brooke, wife of a British Army major, who found skeletal horse survivors working in the streets of Cairo, some still visibly branded with the army's broad arrow) and the RSPCA. Among the stories told is that of Jimson, a mule who survived campaigns in India and the Boer war, and whose 3 service medals are on display. He was so beloved by the 2nd Battalion Middlesex that they got special permission to bring him back from South Africa in 1903, and he lived on as regimental mascot until 1912. National Army Museum, Royal Hospital Road, Chelsea, London, until August.

FCB Cadell is the first solo exhibition of the work of one of the four artists popularly known as The Scottish Colourists to be held in a public gallery in 70 years. Francis Campbell Boileau Cadell is perhaps the most elegant of the Colourists, renowned for stylish portrayals of Edinburgh New Town interiors and the sophisticated society that occupied them, vibrantly coloured, daringly simplified still lifes and figure studies of the 1920s, and evocative depictions of his beloved island of Iona. As with the other Colourists, Cadell spent time in France early on in his career, and had direct contact with French painting from Manet and the Impressionists to Matisse and the Fauves. Cadell's tightly-cropped compositions, usually approached at an angle, the flat application of paint, and his use of brilliant colour, resulted in interiors, still lifes and figure studies that count amongst the most remarkable paintings in British art of the period. The exhibition brings together almost 80 of these paintings, many of which have rarely, if ever, been shown in public before. Highlights include 'The Blue Fan', 'The Embroidered Cloak', 'Still Life with White Teapot', 'Interior The Orange Blind', 'Interior Croft House', 'Portrait of a Lady in Black', 'Florian's Cafe, Venice', 'St Mark's Square, Venice ', 'The Harbour, Cassis', 'The Tail of Mull from Ioana', 'Pulpit Rock, Iona', 'The Croft ', and 'Ioana'. Scottish National Gallery Of Modern Art, Edinburgh, until 18th March.

From Garden City To Green City explores the many visions, designs and projects that have inspired the 'green city' movement over the last 150 years. From the Victorian pioneers determined to improve living conditions in newly industrialised Britain, to today's landscape architects transforming urban centres, the exhibition considers whether the current enthusiasm for eco-living and seasonality can make a lasting change. The exhibition brings together books, works of art, photographs, design drawings, maps, diagrams and films to tell the story of the green city movement since the mid 19th century. It re-visits a time when areas like Brixton and Waterloo could be depicted as rural idylls. This green signature underlying London inspired the designer William Morris and the novelist Richard Jefferies to imagine a future in which nature takes over. The display tells the story of the very first of the 'garden cities' in Letchworth, and looks at their legacy in the town planning of the 20th century. It traces the impact of the Second World War and the wild flower meadows that sprang up naturally in former bomb sites. Following on from these, it opens the door on the many green spaces that have been created by individuals and community groups, such as a London house with a wildflower meadow and insect hotel on its roof; and 'guerilla gardening' and 'meanwhile gardens', like the Dalston Eastern Curve in Hackney, and the Edible Bus Stop garden, on a strip of land beside the 322 stop on Landor Road SW9. The Garden Museum, Lambeth Palace Road, London SE1, until 1st April.

Concluding

Edward Burra is the first major show for over 25 years of the work of one of the most individual British artists of the 20th century. The exhibition provides a unique opportunity to reassess Edward Burra's extraordinary creativity and impressive legacy. Burra made modernist paintings in an eccentric style that had something in common with those of Stanley Spencer - but without the religious references. Sailors in dockside watering holes, Harlem strip joints, lorries and motorbikes were his kind of subjects. Burra's preferred medium was watercolour, but the results are not like the watercolours of other artists. His paintings are vital, crowded with detail, their urban men and women flattened and cartoonish in a gaudy palette, yet surprisingly, Burra remains something of a footnote in art history. This exhibition of over 70 works features some of Burra's best known images of everyday people at leisure in cafes, bars and nightclubs, and explores the influence on him of jazz music and cinema, as well as examples of his fascination with the macabre (including dancing skeletons) and dark sides of humanity, together with his later more lyrical depictions of the British landscape. In addition, the show also examines Burra's role as a designer for the stage, including ground-breaking sets and costumes for Frederick Ashton and Ninette de Valois, particularly a front cloth for Don Quixote. Pallant House Gallery, Chichester, until 19th February.

Leonardo da Vinci: Painter At The Court Of Milan examines the extraordinary observation, imagination and technique of possibly the world's greatest artist. The exhibition concentrates on Leonardo da Vinci's career as a court painter in Milan during the 1480s and 1490s, and is the first to be dedicated to his aims and ambitions as a painter. It comprises some 60 paintings and drawings by Leonardo, as well as pictures by some of his closest collaborators, some never seen in Britain before. Nearly every surviving picture that Leonardo painted in Milan is in the display, including 'Portrait of a Musician', 'Saint Jerome', 'Madonna Litta', 'Belle Ferronniere', the two versions of 'Virgin of the Rocks' and 'The Lady with an Ermine'. These pictures show how Leonardo, benefiting from his salaried position, used his artistic freedom to find new ways of perceiving and recording the natural world, focusing especially on the human anatomy, soul and emotions. Leonardo's time in Milan was the making of him, both as an artist and as a public figure. It was where executed his two profoundly different versions of the mysterious 'Virgin of the Rocks'; as well as the wall-painting of 'The Last Supper', represented in the exhibition by a near contemporary, full scale copy by his pupil Giampietrino; and 'The Lady with an Ermine', acclaimed as the first truly modern portrait, as the sitter's nuanced expression conveys her inner life, mind, soul - and what we would now call psychology. More than 50 drawings relating to the paintings are exhibited for the first time, including all the surviving drawings that are connected to the 'Last Supper' and the 'Madonna Litta'. National Gallery until 15th February.

William Morris: Story, Memory, Myth looks at how the Victorian designer and writer told stories through pattern and poetry. William Morris, a leading member of one of Britain's first socialist parties, made textiles truly radical. It was the holistic experience of medieval crafts he strove for, railing against the grim production lines of his own era. The exhibition examines the tales that were most important to him, such as the works of Geoffrey Chaucer, Norse saga, Arthurian legend and Greek myth. Morris returned to the same stories throughout his artistic career, and his continued fascination is revealed by arranging the works according to the tale they tell rather than their medium. Thus, 5 rarely seen panels of the embroidered frieze 'The Romaunt of the Rose' can be seen together with editions of 'The Works of Geoffrey Chaucer', elaborately illustrated by Morris and Edward Burne-Jones and printed by Morris's private press. Both the frieze and Chaucer drew inspiration from the French medieval text the 'Roman de la Rose'. This is the first time that these panels have been seen since their recent conservation by The Royal School of Needlework. Among the other highlights are illustrations of Arthurian legends. These combine the work of both Burne-Jones and Morris, where romanticised women, with their long unravelled red hair and draped white robes stand in front of wistful backdrops, composed of Morris's iconic and infinite patterns of nature, including 'King Arthur and Sir Launcelot', from 'The Story of Tristram and Isoude' series of stained glass windows. This is the first public exhibition at Two Temple Place, one of London's hidden architectural gems, built by William Waldorf Astor on the Embankment. It is an extraordinary late neo-Gothic Victorian mansion, designed to 'personify literature in addition to being representative of art, craft and architecture'. Two Temple Place, London WC2, until 29th January.