Edvard Munch: The Modern Eye

The Arts Desk“More to this angst-ridden Norwegian than The Scream...” The Modern Eye seeks to establish Munch as a modern artist with modern concerns...Deploying his interest in photography and film, and emphasising his engagement with their experimental potential, it’s a reasonably persuasive thesis...

Guardian“Even the paintings that are misconceived or a mess are fascinating...” What really counts here are the paintings, with their swooning fluidity and their weirdness, their interrupted rhythms, their intimacies and drama...

The Observer“Go and see this show if you possibly can...” Life and art are one at last – and also heroic. There is courage in Munch's desolation, universal and inspiring. It's a superb end to this show...

Evening Standard“An art historians’ exhibition for other art historians...” Its purpose is to illustrate its curators’ theses and conclusions, none of them entirely new, though never before demonstrated with such industry and clarity... theses and conclusions, none of them entirely new, though never before demonstrated

The Telegraph“Wonderfully revisionist...” To look at Munch again, this time asking whether the emotional and psychological interpretations with which his paintings are routinely burdened are fully justified, liberates his work from the stranglehold of psychodrama...

The Independent“See it if you can...” "The Wounded Eye" would be a more accurate subtitle than The Modern Eye. In its last room is a series of self-portraits painted between 1905 and 1943. They chart, with horrifying off-handedness, the course of Munch's own self-destruction...