‘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

‘Where his paintings are tightly choreographed performances, his drawings show the frantic chaos and craftsmanship of the endless rehearsals within Poussin’s mind.’

Review – Poussin and the Dance

‘The ink matches his existing drawings. The monogram is as iconic as it gets. And the graphic style is recognisably Dürer’s own. But the true light at the end of the tunnel was the watermark on the paper.⁠’

Review – Dürer and his Time

‘Treasures are literally around every corner, from Guido Cagnacci’s magnificent Jacob Peeling the Rods taking centre stage in the Italian section to a glistening little Gerrit Dou of A Girl chopping Onions on the way to the Rembrandts!⁠’

Review – Masterpieces from Buckingham Palace

‘This is the definition of an excellent and concise exhibition which breathes life into a national icon using the best possible historic objects available to us. The only disappointment is that this could not be a permanent display for future generations to enjoy.⁠’

Review – Thomas Becket: Murder and the Making of a Saint

‘This is a show worth visiting for the simple reason that it features exceptional artworks, just enough text to get you through, and the experience isn’t tedious, despite its subject matter.⁠’

Review – Michael Armitage: Paradise Edict

‘This exhibition isn’t rosy and beautiful; it’s depressing, emotional, and gut-wrenching.

And for that reason, it’s just perfect.’

Review – Tracey Emin / Edvard Munch: The Loneliness of the Soul

‘Appearing like paintings made by a child, there is also a complexity of emotions and viewpoints in her works. Bearing exaggerated expressions, the sitters are uncomfortable in the picture plane and they know it.⁠’

Review – Chantal Joffe: Story

‘Ultimately, the exhibition shows that Artemisia Gentileschi was no mere legend. Through passion and hard work, she devoted her life to building her reputation as a noteworthy artist. She wasn’t satisfied until she could be the best of the best, constantly vying for patronage from the most prominent members of society.’

Review – Artemisia

‘I think one’s ability to clearly differentiate the individual hairs on Adam’s legs is testament enough to the unprecedented opportunity to view the exterior panels of the Ghent Altarpiece as Hubert and Jan van Eyck once did.’

Review – Van Eyck: An Optical Revolution

‘In a culture superficially obsessed with youthful appearances, Freud’s portraits of himself and others celebrate the aging body. His unforgiving, unflattering approach to his sitters compliments an appreciation for wrinkles, stretch marks, and bruises.’

Review – Lucian Freud: The Self-Portraits

‘I think what Vallotton ultimately became was a painter of stillness. His subjects are frozen in time. Whether it was embracing couples, reclining nudes, outdoor activities, or inanimate objects, there was always a photographic quality to his works. Indeed, photography was part of his creative process, but his paintings transcend documentary function and enter a state of ambiguous storytelling.’

Review – Félix Vallotton: Painter of Disquiet

‘Her self-portraits are witty but critical. Her practice is solitary but her messages are timelessly relevant.’

Review – Cindy Sherman

‘The flow of ideas in Leonardo’s graphic oeuvre defies chronology, and the fact that the curator has managed to guide visitors through this in a comprehensible way whilst also educating them about complex drawing techniques is a feat worthy of admiration.’

Review – Leonardo da Vinci: A Life in Drawing

‘This exhibition isn’t a competition between two artists; it’s a dialogue about humanity and the human form, showing society at its finest and at its worst. It forces us to consider the other side.’

Review – Klimt / Schiele: Drawings