James Ensor? Who he? A marvellous Anglo-Belgian artist (1860-1949) little known outside Belgium, whose masterpiece, The Entry of Christ into Brussels in 1889, 1888, is a trophy painting at the Getty, California. It is present here in his own print version, its crowd scene mixing reality and fantasy typical of his wild imagination and extraordinary technical skill. 

David Bowie needs no introduction, yet he kept one aspect of his life largely hidden away: his art collecting. Now Sotheby’s, which is auctioning off around 400 items of his private art collection in a three-part sale on 10 and 11 November, is holding a very special exhibition, lasting just 10 days. The exhibition and the extensive catalogues that accompany the sale provide an exceptional opportunity to see the works together before they are dispersed and to look at how much the collection reflects the man (and sometimes his music).

In Monster Field, 1938, fallen trees appear like the fossilised remains of giant creatures from prehistory. With great horse-like heads, and branches like a tangle of tentacles and legs, Paul Nash’s series of paintings and photographs serve as documents, bearing witness to the malevolent lifeforce that, unleashed by their undignified end, has taken hold of these apparently dead trees.

Oh, those dogs: just a flick of the brush, and there they are, bursting with life. Pets, hunting dogs, companions, strays: romping on beaches, or in Dutch forests, living on farms and in imagined arcadias. Adriaen van de Velde was a 17th century master of canine depiction. His frisky creatures were bit players in hunting scenes filled with horses, carriages, people and birds ready to be let loose, all set in the verdant Dutch landscape, or by the North Sea.

This is an inspired and beautifully curated exhibition. It is subtitled The Essence of Movement, but it could equally be called The Essence of Art. What marks it out is not only the sensitively selected and tightly focused content, but also its close exploration of Rodin’s artistic process.

In this autumn’s Vagabonds Collection, Viktor and Rolf showed a pink top covered in hundreds of buttons and framed with elaborate furls of pale pink and blue tulle; did they intend the model to look as if she was wearing a giant vulva across her chest? For me, this is the most vulgar garment (pictured below right) in an exhibition that supposedly explores the concept of vulgarity, yet is full of extremely tasteful designs.

Cheekily bottom-like, their downy skin blushing enticingly, these must be the sexiest apricots ever painted. If you held out your hand, you might just be able to touch them, there in the foreground of what is thought to be Caravaggio’s earliest surviving painting. Echoing the skin tones of a boy absorbed in the act of peeling fruit, the light highlights his hands and his downcast eyes make us voyeurs in a scene of unexpected sensuality.

The fifth edition of the highly popular Frieze Masters – the quieter sibling of the boisterous contemporary Frieze Art Fair London – is underway in Regent's Park, London. This year, the fair features 133 leading galleries from around the world. Their various displays include curated and created sections as well as solo exhibitions devoted to the works of artists such as Paula Rego (Malborough Fine Art, London), Robert Motherwell (Bernard Jacobsen Gallery, London), Lynn Chadwick (BlainSouthern, London) and Eduardo Paolozzi (Jonathan Clark Fine Art, London).

There’s something familiar about those dark, piercing eyes, but the impenetrable, mask-like countenance of Picasso’s Self-Portrait with Palette, 1906, is ultimately unknowable. In fact, the painting serves as something of a rebuke: we think we know Picasso so well, but we don’t. It’s a theme emphasised by the hang of this exhibition, and the bewildering range of styles and formats from Picasso’s early years results in a visual discord that underlines his chameleon-like tendencies.

It was inevitable that David Shrigley's breezy new sculpture for Trafalgar Square – part of the popular Fourth Plinth Programme – would be appropriated for political purposes. As the giant seven-metre-high thumbs-up Really Good was unveiled by Mayor Sadiq Khan it was greeted with a sudden downpour, but exuded a defiant post-Brexit cheery optimism. "London is open to the world," declared Khan to the sodden onlookers, welcoming immigrants, EU citizens, people of all ages and backgrounds.