Nevertheless he was also a technical artist in the sense that he was fascinated by the point at which two-dimensionality and three -dimensionality in painting meet and he was always looking at how simply he could portray his motifs. In the 1960s and 1970s the black outline was paramount but he then moved on to use lozenges of light and shade to suggest the rooms and objects around them. He would also add trompe-l'oeil elements to his interiors-a naturalistic painting or a mural-and unsettle the image.

Caulfield was also a distinguished printmaker and Alan Cristea, who worked with him for some 30 years, is holding a retrospective of his graphic work at his Cork Street gallery to complement the Tate show. Because he was a slow worker screenprinting was integral to Caulfield. His style needed no adjustment for printmaking and indeed some of his prints, such as the enigmatic suite illustrating the free verse of the 19th-century poet Jules Laforgue, are among his best works. 

Caulfield cited Gris as his inspiration because he painted "imagined reality, things remembered and formalised . . . Gris's vision was highly individual, based on intense personal observation and interpretation." This pair of exhibitions shows how Caulfield built an art from his own imagined reality. 

As a precursor of the stream of exhibitions starting next year that will mark the First World War, the Dulwich Picture Gallery's Nash, Nevinson, Spencer, Gertler, Carrington, Bomberg: A Crisis of Brilliance, 1908-1922 looks at a group of young painters who were forced into artistic maturity by the outbreak of hostilities. All six were students together at the Slade School of Art and their generation of rare talent was dubbed by their tutor Henry Tonks as the school's "second and last crisis of brilliance" (the first was the 1890s class that included Harold Gilman, Spencer Gore, Augustus John and Percy Wyndham Lewis).