The Guardian

Jonathan Jones

Pablo tears reality apart in a riotous celebration of his raging genius

"It breaks Picasso up, as he broke up what he saw. There is no chronology or historical context. Picasso was in his late 80s when he painted this, its rawness and anger as much to do with death as with sex. It is because Picasso loves the little good things so much that he can face modernity's horrors without despair."

Financial Times

Jackie Wullschläger

Tate’s bringing together of its Picassos is glorious — with one major caveat

"The paintings defeat curatorial arrogance, and their power and magnetism render pathetic this attempt to "dismantle" the western culture which produced them. Instead, they give audiences a joyous time. But really the exhibition should have been unnecessary — without apology or jargon, the paintings should be on permanent show, free, clearly displayed in the best possible light."

The Observer

Laura Cumming

Contrived, confused and uncalled for

"Picasso's art muscles its way into your mind with astonishing vigour. He does not need to be updated for a new generation. Theatre Picasso certainly shows just how strong he looks against a black wall, but the best of this contrived and contradictory presentation, which turns out to be surprisingly cramped, is of course the art. Strike the set."