Reviews and Highlights

“I must say, I really enjoy your captions (especially the recent one about Burne-Jones). Little essays actually, always well-informed and beautifully written. Thank you.”

“There should be a name for your caption reviews, like capsule reviews or something. You are a pro at it, ie Gentileschi


“You are so passionate about Raphael‘s art! Thank you for sharing your knowlege and passion with us 👏😊”



Courtauld Gallery

Drawing on Arabian Nights

Rijksmuseum, Amsterdam


Rijksmuseum, Amsterdam

Van Gogh drawings at the Rijksmuseum

Courtauld Gallery

Peter Doig

Victoria and Albert Museum

Donatello: Sculpting the Renaissance

Object in Focus: Attis-Amorino

A Donatello drawing?

Leighton House and Sambourne House

Leighton House Museum and Linley Sambourne House

The Camden Club

Sykamore & Jeff Cohen

Pallant House Gallery

Anne Desmet: Kaleidoscope

The Courtauld Gallery

Helen Saunders: Modernist Rebel


‘[…] every wall of every room is a reunion…demonstrating the artist’s subject/object preferences and experiments with perspective, restrained colour palettes, mark-making, and level of finish.’

Review – The EY Exhibition: Cezanne

Victoria and Albert Museum

Hallyu! The Korean Wave

“Thank you for your account, which somehow reflects the trend in the organisation of exhibitions”


‘This unsung jewel in the National Gallery’s current exhibition line-up offers a powerful contrast to the urban, New York harbour scene in the permanent collection, and effortlessly navigates the harbouring tensions in a very delicate America.⁠’

Review – Winslow Homer: Force of Nature

Royal Academy of Arts

William Kentridge

Woolwich Contemporary Print Fair

Woolwich Contemporary Print Fair 2022

‘This exhibition is a fantastically insightful extension to the Ashmolean’s paintings in the permanent collection, albeit temporary, full of visual delights that offer a semblance of the rich, colourful pictures that must have hung in wealthy Victorian homes.’

Review – Pre-Raphaelites: Drawings and Watercolours

‘Set within the frescoed halls of the Palazzo Te, this seemingly immersive exhibition breathes life into an underappreciated genre of Renaissance art, one that captures the imagination with whimsical creations designed to entertain the upper classes and imbue the ruling class with the illusion of power.⁠’

Review – Giulio Romano. La Forza delle Cose

British Art Fair

British Art Fair 2022

National Gallery

Picasso Ingres: Face to Face

English Martyrs Catholic Church

The world’s only painted Sistine Chapel replica

Royal Academy of Arts

Summer Exhibition 2022

Tate Britain

Cornelia Parker

The Other Art Fair

The Other Art Fair 2022

Masterpiece London

Masterpiece London 2022

‘This show manages to collect a wide range of styles that are sometimes surprising given our popular image of Munch’s work is typically unhinged and depressing. Instead, we are offered some of his more bright and colourful works, mainly in portraiture, and in doing so, a renewed understanding of his development towards externalising the human psyche.⁠’

Review – Edvard Munch. Masterpieces from Bergen

London Original Print Fair

London Original Print Fair 2022

Japan House London

Symbiosis: Living Island

The Courtauld Gallery

Van Gogh. Self-Portraits

“Excellent write up and thank you for sharing! Too far for me to see this exhibit, but your photos made me feel like I was there – thank you!”


‘…a silver sampling dish featuring every aspect of Raphael’s artistic personality’

Review – The Credit Suisse Exhibition: RAPHAEL

National Gallery

Virtual Veronese

‘By juxtaposing contemporary fashion pieces with their inspired historical counterparts, the show makes a strong case for the ordinariness of what modern viewers might consider ‘radical’ fashion choices.’

Review – Fashioning Masculinities: The Art of Menswear

Gazelli Art House

Liminality by Aida Mahmudova

‘Poignant, relevant, and ultimately wholesome, this is an exhibition that touches the heart while offering much food for thought during the most turbulent of times in our recent global history.⁠’

Review – The Fabric of Our Nation

British Museum

The world of Stonehenge

‘The paintings are often large, dark, and full of impasto, evoking a sense of animalistic violence in Bacon’s creative process. His use of materials creates some splendidly textured surfaces, including an unusual decision to embrace the use of dust. Oftentimes, the impasto is disturbing, as a horrifically realistic ear or snarling mouth materialises from a flat surface.⁠’

Review – Francis Bacon: Man and Beast

Royal Academy of Arts

Francis Bacon: Man and Beast

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