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Ophelia by John Everett Millais, one of the best-known pre-Raphaelite paintings, is moved into place at Tate Britain.
A selection of images from Tate Britain’s historic pre-Raphaelite show, featuring work from Ford Madox Brown, Dante Gabriel Rossetti, Edward Burne-Jones and others, along with shots of the exhibition coming together
Photograph: Sophia Evans/Observer

    Ophelia by John Everett Millais, one of the best-known pre-Raphaelite paintings, is moved into place at Tate Britain.

    A selection of images from Tate Britain’s historic pre-Raphaelite show, featuring work from Ford Madox Brown, Dante Gabriel Rossetti, Edward Burne-Jones and others, along with shots of the exhibition coming together

    Photograph: Sophia Evans/Observer

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    Edvard Munch: The Modern Eye - review
There is a self-portrait in this exhilarating show of the artist naked and bleeding on an operating table. A nurse holds a bowl overflowing with blood and a vast stain is spreading through the sheets. Not one but three surgeons are in attendance and dozens of students are observing the agonies through the theatre window: witnesses, as we are, to the artist’s martyrdom.
Read the complete review, here

    Edvard Munch: The Modern Eye - review

    There is a self-portrait in this exhilarating show of the artist naked and bleeding on an operating table. A nurse holds a bowl overflowing with blood and a vast stain is spreading through the sheets. Not one but three surgeons are in attendance and dozens of students are observing the agonies through the theatre window: witnesses, as we are, to the artist’s martyrdom.

    Read the complete review, here

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    | 3 notes
    Read Adrian Searle’s review of Damien Hirst retrospective: 

One wants to write a straightforward review of Hirst’s work, but it is almost impossible. What would it be like, I wonder, for someone with no knowledge of his art, let alone his global reputation, to come along and review this show? What would they see? So much has already been said about Hirst, including a great deal by me. How can we see it fresh?

Answers on the back of a spotty postcard or below this post.

    Read Adrian Searle’s review of Damien Hirst retrospective: 

    One wants to write a straightforward review of Hirst’s work, but it is almost impossible. What would it be like, I wonder, for someone with no knowledge of his art, let alone his global reputation, to come along and review this show? What would they see? So much has already been said about Hirst, including a great deal by me. How can we see it fresh?

    Answers on the back of a spotty postcard or below this post.

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