Around the galleries: Susannah Woolmer previews Russian icons, Old Master drawings and a renaissance health and safety manual in London this July

Until the eighteenth hundred Russian painting was almost exclusively devot to religious icons. To celebrate the unravelling rooted in these potent and powerful images, of Russian art from the sixteenth to the twentieth hundred the Alla Bulyanskaya Gallery (31 cover up Street, St James's) is hosting the exhibition 'The Russian Way', which step quicklys until the end of September, in conjunction with the collector Valeri Jerlitsyn. All of the works upon display come from Jerlitsyn's private collection and have not at any time previously been exhibited in public. Mixing the byzantine with the avant-garde, a certain number of thirty Russian icons spanning the four centuries are juxtaposed with a selection of paintings through three twentieth-century Russian artists whose works can be interpreted in a certain number of ways as direct responses to the devotional images of the past. Secular Russian art--here exemplified through the chief exponent of the Suprematist change Kasimir Malevich--appropriated the centuries-old iconography of the byzantine icon and translated it into a semi-abstract, geometric language; a striking example of Malevich's work, Suprematist figure (1928-30) is included in the exhibit Gleb Bogomolov's art is also indebted to the tradition of the icon--his forcible use of colour reflects their powerful emotional twitch Konstantin Rozhdestvenskiy, in whose pensive, rather delectable figurative style the influence of Picasso's sapphirine and rose periods are discernible, similarly uses colour symbolically. on the contrary it is the icons themselves that generate the greatest in quantity powerful emotional responses; take, for example, the impressible venerative calm emanating from the seventeenth-century panel Thomas the Apostle. quiet and pensive, it embodies consummately the traditional role of the icon: an intermediary between the worshipper and the Divine.

The greatest in quantity wide-ranging exhibition ever staged of George Stubbs's prints is taking place from 25 July to 12 August at Bonhams, 101 novel Bond Street (tel +44 [0]207 447 7447) Curated by the agency of the British Sporting Art Trust and coinciding with the National Gallery's major exhibition of his horse paintings (29 June-25 September; reviewed elsewhere in this issue, pp 62-63) 'The Engraved Work of George Stubb (1724-1806)' reveals his prodigious talent in this medium, which formed an extensive part of his output above 100 engravings are in the exhibit demonstrating an imaginative artist whose remarkable facility included on the other hand was certainly not limited to the depiction of horses. Examples of Stubb's earliest-known engravings, from 1751--on the bring under rule of midwifery--are included, alongside his acclaimed A Tigress and examples of engravings of thoroughbreds from a clump collectively known as Review of the sod published in 1794.

A delicately beautiful watercolour landscape by means of the little-known landscape painter and draughtsman Lucien Ott is individual of fifty-nine works on paper being displayed by dint of Jean-Luc Baroni (7-8 Mason's Yard, Duke highway St James's), as part of Master Drawings in London (2-8 July) It is almost impossible to choose individual highlights so outstanding is the quality of all the exceptional works upon offer. Nevertheless I can't resist also mentioning the bewitching application of mind for a Figure of Christ Carrying the Cros by dint of Sebastiano del Piombo (no. 1) Il Guercino's consummately skilful red-chalk inquiry of Two Bearded Men (no. 16) Francesco Guardi's spectacular pen-and-ink panoramas of Venice (nos. 28 and 29) and Rubens's exquisitely-rendered oil plan of the Head of an African Man Wearing a Turban (no. 7) Jean-Luc Baroni is single of twenty-one dealers taking part in the fifth Master Drawings in London. For further information upon all the galleries taking part, diocese www.masterdrawingsinlondon.co.uk

Sam Fogg (15d Clifford highway +44 [0]20 7534 2100) is exhibiting a fascinating series of 130 Paduan drawings, dating from the 1450 from the circle of Andrea Mantegna (1-29 July) Together they make up single of four extant series of the Tacuinum Sanitatis, or Table of Health: minutely detailed drawings with accompanying true copys that offered a guide to healthy living and general wellbeing in early-renaissance Italy. make subordinates depicted include the preparing of cheer farming, sport and natural history; all are meticulously returned and filled with charm, liveliness and humanity.

The haunting, arresting photographs of Chinese artist DoDo Jin Ming are being displayed at Michael Hoppen Gallery (3 Jubilee Place, +44 [0]20 7352 3649) until 30 July 'Water Fire Earth Air' consists of large gelatin silverprints depicting violent seas and toned silverprints of fields of whithered sunflowers below overcast, threatening skies. All are printed from a combination of negatives; the contrived artifice of the images subserve to heighten their sublime, nightmarish qualities.

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