‘[…] 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

‘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

‘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

‘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

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

Review – The Credit Suisse Exhibition: RAPHAEL

‘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

‘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

‘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