Osborne Samuel, London, 16 April – 16 May 2015

The legion of admirers of Prunella Clough’s paintings continues to grow, over 15 years after the British artist’s death. Clough had a golden touch, representing urban and industrial landscapes and details in a range of evocative semi-figurative styles, from chunky post-war geometries of factories to more freeform, colourful works that border on abstraction.

Estorick Collection, London, 15 April – 18 June 2015

Modigliani’s portraits are famous for their graphic style; bodies, faces and features are pared-down, geometric and elongated, in nods to both avant-garde 20th-century abstraction and ancient art. The Estorick sheds new light on this most instantly recognisable artist from this week, focusing on his works on paper and how they helped gestate his most memorable mode of representation.

Marlborough Fine Art, London, 22 April – 30 June 2015

Hughie O’Donoghue’s subject matter is, in essence, memory: in a recent article for RA Magazine, he claimed, “Remembering and painting are close companions; both seek equivalents for something profound, a calling to mind of something not to be forgotten.” In the Royal Academician’s latest solo exhibition at Marlborough, he shows ten large paintings in response to the countryside of County Mayo, Ireland, a place he visited often as a child. The lyrical layers of oil in these landscapes render as much a recollection of place as a real environment. Watch a video interview with Hughie O‘Donoghue here.

Timothy Taylor, London, 22 April – 30 May 2015

Fiona Rae’s colourful paintings have stewed together sources as broad as clip-art, Chinese scroll painting and Abstract Expressionism, synthesising them into a personal aesthetic, always creating challenging but cogent canvases. Her latest series on view at Timothy Taylor marks a significant departure: the new works are greyscale, in different ranges of white, black and grey, which endows her characteristically restless forms with a more cool, even elegant, atmosphere.

Studio Voltaire, London, 17 April – 7 June 2015

Moscow-born, New York-based figurative painter Kantarovsky has found a following for her large-scale, colourful, quasi-comic canvases. But for her Studio Voltaire show – a response to Mikhail Bulgakov’s modernist novel The Master and Margarita – she collaborates with Lithuanian-born artist Ieva Misevi?i?t? who performs physical theatre in front of her paintings this weekend.

Sam Phillips (@SamP_London) is Editor of RA Magazine.