Painting

"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

"Like someone laying out every qualification in a job interview, she throws everything she can into the canvas. In The Triumph of Bacchus, which now rivals Diego Velázquez's more famous version of the same subject."

— TimeOut

"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

"The whole show expresses a deep frustration with the stupidity and unfairness of a selfish, elitist society that continues to reward the few at the expense of the many. This isn't about deep trauma or identity politics-based injustice, it's about the daily grind that almost all of us drag ourselves through."

— The Guardian

"For Dulwich Picture Gallery to give this first British showing to Estonia's finest is an admirable gesture, though one suspects they find him more interesting than likable. Still, this show rewards exactly that kind of open curiosity."

— The Standard

"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

"The word 'visionary' is done to death but the 17th-century Spanish painter Francisco de Zurbarán demands it: he paints supernatural things naturally and natural things supernaturally. Space becomes different in his world, melting distance and erasing the barrier between you and the picture."

— 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

"And she is magnificent — not merely critically, but commercially. Brown is among the most expensive living female painters in the world, her canvases commanding prices that would make lesser talents weep. The market, for once, is not wrong."

— The Standard