Painting

"This exhibition is an egregious case of "have your cake and eat it". Tate is happy to use Picasso's name to pull in the punters. At the same time, it holds its nose, by implying he's beyond the pale. Is there a glimmer of positivity about any of the manifestly gorgeous and skilful artworks on display? If you find one, let me know."

— The Telegraph

"JMW Turner is beaten by John Constable in this mighty show. But who cares when the work is so sublime you can hear the squelching and smell the river?"

— The Guardian

"When she's on song her works have a larky life of their own. The duds, however, outnumber the triumphs. Often, there's a sense that a Christmas cracker has been pulled. The painting goes off with a bang… then nothing falls out."

— The Times

"Freud’s drawings show the artist’s meticulous process, but lack the oomph of his paintings."

— TimeOut

"Beneath these scenes of educational family entertainment at the dawn of the Industrial Revolution there's a palpable sense of unease, or certainly a questioning, of the idea of the scientist playing God, and manipulating the rest of us in the process. These images couldn't be more painfully relevant to the age of AI, when technology appears in the process of rendering "humanity", in all senses, redundant."

— The Independent

"If this is Latin American Pop, it's Pop with pathos – and, although this isn't an easy exhibition, it is powerful and affecting. Her paintings are full of flair and subtle, sophisticated aesthetic decisions. These provide succour for the visitor when – as it may do – González's searing content proves too much."

— The Telegraph

"Nigerian Modernism is a complicated, contrary exhibition, tracing the development of modern art in Nigeria from the period of British colonial rule to the end of the 20th century. Terrors and tremors are threaded through Nigerian Modernism, along with conflicting aspirations and the mess of history. It''s fascinating but frustrating."

— The Guardian

"A first-of-its-kind Courtauld exhibition brings together the French artist’s haunting seaside paintings."

— The Telegraph

"A display case of Stubbs’s anatomical drawings are ghostly and strange. Here are spectral stallions, every, nerve, tendon and sinew turned inside out. More of these, please, and less of the tidy parade-ground pictures on the opposite wall."

— The Times

"The Romany artist takes a mural she made for Glastonbury as a starting point, then builds a dizzying series of rooms exploring connection and exclusion"

— The Guardian

"This will probably be the first encounter with Michaelina Wautier's work for UK audiences; grouping all her known works together, having been previously practically nonexistent in the collective imagination, has the uncanny effect of conjuring an entirely new person. An astonishing one of exceptional, fully formed ability."

— The Guardian

"There are some lovely works of art here but I couldn\’t escape the thought that all of art and science are helpless before the mystery and beauty of a single living daisy."

— The Guardian

"For the past 50 years, Hockney has flitted between these two modes, returning occasionally from noodling to remind us of his gift for direct communication (see his portrait of the performer Divine, the affecting drawings of his ageing mother, or his paintings of the Yorkshire landscape in the 2000s). But, sad to report, it is to the late stages of the jazz tendency that most of this exhibition belongs."

— The Guardian

"In Anderson's work, the natural world is almost ominously abundant. Greenery seems to suffocate man-made structures, which often appear dilapidated – like ruined temples in a jungle. The sense of melancholy this generates is offset by the pleasure that Anderson evidently derives from manipulating paint. His compositions – some of which flirt, ingeniously, with abstraction – are awash with attractive blotches and drips."

— The Telegraph

"Walking into Tate Modern's huge Tracey Emin retrospective is like walking in on her crying, naked, sobbing and snotty, as if you have stumbled into something painfully private. Don't come here looking for a good time – you won't find it. But come looking for pure, unapologetic, undiluted, full-frontal love, grief, heartache and sadness, and you will end up feeling more feelings than you've probably felt for years."

— The Guardian

"She returned repeatedly to the same subjects and compositions – contemplative women, sparsely furnished interiors, still lifes, devoted churchgoers – and each time saw them through fresh and attentive eyes. The result is art that's sensitive but unsentimental, studious, and, yes, strangely beautiful."

— The Independent