Tate Modern Gauguin exhibition poster
Tate Modern's Gauguin exhibition poster

Ok. It has been a month since our Gauguin exhibition opened and we have already had a fantastic amount of comments from visitors. Many thanks to everyone. As a curator, these insights into people’s experience, thoughts and opinions are fascinating and will certainly inform any projects I work on in the future. Please do post messages on the Tate blog - I read them all! I look forward to hearing from you. Christine 


Kristin Rasmussen

Me and my 4 year old daughter looked forward to visit the show and we came all the way from Norway. However it was far too crowded! My daughter wasn't able to see anything due too the crowds. We both found this experience very stressful. Even if we'd like to come back very soon we're sceptical because we've been to a Tate Modern show earlier which was also overcrowded..


The pictures were wonderful. The layout of the pictures was curious along with the layout of the venue. There was a ruck at the entrance which rolled through the floor to the exit. A good example of how the above two issue were made to work was the Monet exhibition in Paris. In fairness they had a couple of floors to play with but the timed entrance was religiously monitored and it was all the more pleasant for it. PS: more qualified Bar staff in the members bit would be good. On Friday it took 20 minutes to get a bite to eat and a drink.

Lilly lit

Fantastic exhibition!

I learned so many new things about Gauguin. His relationship with religions, with women and with his peers were original.

The thematic approach was great and so was the catalogue. Congratulations!

The last room as well and the landscape rooms were beautiful.

Brian Simpson

The thematic approach was a bold choice and for me not completely successful. I arrived with the expectation that I would "read” the exhibition in a chronological way, and so I was slightly disoriented. I also think that such an approach demands rather more reflection from the viewer and the overcrowding, the smallness of the rooms and the consequent difficulties in reading wall texts made this quite difficult. As a result my visit was less satisfying than I had expected.

Nonetheless, it was still worthwhile. I went back to look at his works in books and to think about them in different ways. Visually the works were stunning and seeing some face to face for the first time was a revelation. I was struck by the beauty of the figure in the bottom right of the "Green Christ”. But please look for ways to manage the crowd so that the works and the care of the exhibition layout can be fully appreciated.

Roger Manning

I was disappointed by the Gauguin exhibition. I did not think that the thematic approach worked. While the range of the exhibits was impressive I felt many were important in illustrating the development of Gauguin's art rather than for their own quality, and the thematic organisation of the exhibition did not allow a clear sense of how his work developed. With regard to the contextual stuff in the side rooms sometimes less is more!

Ozlem Yikici

I, like many people who visited the exhibition, enjoyed the experience -yes, it was overcrowded and at some point it was quite stuffy that some air circulation would have been great as this caused me to lose focus on the remaining works which was a little disappointing for me. However, it was great to see that Gauguin struggled to find his own style until quite late in his years. I was bemused to note that he attempted to work by adopting styles of the various impressionists (composition being the area he deliberately challenged) and he also tried very hard to encorporate lots of colours in his paintings which I found did not work for him but eventually he came to his own and his paintings in his later years shows that he learnt from his peers and became the artist we appreciate.

Up until the exhibition I never took an interest in Gauguin's work other than his relationship with Van Gogh however, this has enlightened me to his work and style and I can safely say all in all this was an interesting exhibitioned which showed the development of an artist through style and context. Thank you for showing us this side of Gauguin.

Jenny Elliott

I loved Gauguin's works of art and liked the layout of this exhibition. The crowds didn't spoil it for me and it was easy to look closely at the pictures. However, I do agree that the labelling made it difficult since often 2 or 3 paintings were displayed together and you couldn't tie them in with the paintings unless you went back and forward. Also although it was the end of the exhibition, I was surprised that the some of the labels were worn out and bits of print were missing. BUT I STILL LOVED THE EXHIBITION AS DID MY FRIEND WHO TRAVELLED ALL THE WAY FROM LANCASHIRE TO SEE IT!

Arnold Bloomberg

We were extremely grateful to have the opportunity to see your remarkable Gauguin exhibition at Tate Modern. Obviously it was a victim of the popularity of the artist's work and overcrowding was to be expected. The only suggestion concerns the labelling which at times was difficult to find. Put each label next to the subject and use a larger contrasting bold font. As a French person, my wife was particularly touched by the letters. We wish you continued success with your future exhibitions. We would like to know the total number of visitors. We used the excellent Tate to Tate boat facilty , and enjoyed the Eadweard Muybridge photographic exhibition at Tate Britain. Sincerely Arnold & Josette Bloomberg


Thank you for asking for comments on the Gauguin exhibition. For an exhibition of this kind, the labels are important, because you gave us a lot of interesting information on them. This time the labels were well placed - NOT at knee-height - and reasonably legible - font size was OK, though the contrast of print and background could have been better. What was less satisfactory was their positioning: when an exhibition is full, you have to follow the pictures round in sequence. The labels did not help this: sometimes they were on the left of the picture, sometimes on the right, so if you were following a sequence, you sometimes found the label before the picture (fine!) and sometimes after (not so fine!). And sometimes they were grouped so that the labels for three pictures were all together, and you had to try to remember them. Next time you label an exhibition, could you please think more about the viewers than the aestetic effect?



Dr Robin Hendy

My wife and I agree with most of the posts above. We went on January 7th at 2 PM so didn't expect we would have to endure the sort of extreme crowding that seems to have occurred (even more) at the end of that week.

Nobody else appears to have commented that the iPod Gallery Guides actually DETRACTED from the experience. I am an enthusiastic techie but my wife is the opposite. I had to spend a lot of time fiddling with her iPod to keep up with the exhibits. Worse, there were often movies and other images on the iPods that actually COMPETED with the artworks on the walls, diluting and detracting from the intensity of the experience.

If the captions MUST be low down on the walls to satisfy wheelchair users (is this a new EC rule?) then please can we able-bodied folk have nice LARGE, legible captions, at chest level, with perhaps an arrow to show the target of the caption so we don't have to guess.

PLEASE PLEASE will you consider re-printing the excellent Exhibition Catalogue which was sold out more than a week before the finish. I would love to buy a copy.

Conclusion: good range of Gauguin's works, rather spoilt by overcrowding and over-technical iPod guides.

Catherine Lafarges

I had no qualms about the layout of the exhibition however the captions were way too small for comfortable reading and there was a definite lack of large print explanations. Why not take heed of the Tutankamun exhibition where captions were set up on either side of the artifacts and above the artifacts meaning easy access for most viewers. The other disconcerting thing was the fact that some captions were miles from the actual item they refered to. But in the whole I loved the exhibition. Some of the artifacts (like the Becassine extracts) brought me back to my childhood (I am French and grew up with these books). I also loved being able to read Gauguin's letters and appreciate his beautiful handwriting. As for the paintings do they really need any comments?!! Thanks for the best 4 hours I have spent lately.

Mark Ranger

Well, I was obviously not the only one a bit peeved about the layout of the exhibition. I am sort of surprised by people blaming the visitor numbers and faded type on the walls to their leaving it late. Surely, if this is a commercial event, these items should be taken care of by some kind of maintenance programme and the flow of people can be better regulated. I am not an artist, so I am coming at this from a purely commercial perspective. I wonder if there needs to be more balance between the two objectives? As 10cc once said 'Art for art's sake, money for God's sake' One cannot survive without the other, but surely they can respect each other a bit more?

Having said all of this, it was a very enjoyable experience, and one which I'd repeat - I think

Steven Ramsden

I agree with the comments on the overcrowding and captions, but my chief problem was taking it all in at one go. I should have visited earlier and often.

jinti wight-boycott

I enjoyed the exhibition but agree that there were far many people let in at one time to view comfortably. I did find the captions sometimes confusingly situated. They were definitely too small. I know it was the end of the exhibition but many had deteriorated and were hard to read. Higher and larger please and maintained.

Anne Day

I greatly enjoyed the Gauguin Exhibition. How interesting it must have been to organise it. I should have liked to have seen more of the Tahitian paintings, but appreciate that it must have been difficcult to obtain them. I note that several are in private collections and seeral in the Boston Museum. I wish to do some research on Gauguin as a Colorist. Would you kindly recommend the best books. The reproductions in the book I have - Gauguin by Charles Estienne - are quite good but I should like more technical information. How closely did Gauguin study the science of colour? Was he supplied with oil paints when in ITahiti? How did he use them? Greatly thinned down? What is the opinion to-day on how the colours to-day relate to those at the time of painting? At the Exhibition, I particularly enjoyed appreciating Composition as this cannot properly be appreciated in small reproductions. I am interested in researching the major influences on the painter. I shall be looking at Bernard as well as Pissarro and.........

Peter Tate

I found the thematic approach helpful because it got me thinking about different aspects of his life. I was surprised about how well travelled he was, I knew of Tahiti, but also his early years in South America, in Denmark and also how many places he had been in the Pacific. I was surprised too that in spite of his hostility to the established church, spiritual themes figured so prominently in his work. His scenes of Tahiti were haunting - perhaps he was subconsciously looking for Paradise, maybe like all of us, but I don't know if he ever found it. Thank you for such a well put-together exhibition, it was worth the scrummaging! :-)

Chris Miller

The opportunity to see an important collection of an influential artist was spoilt by too many people allowed in. Additionally pushchairs and large rucksacks should not have been allowed in given the number of people present. The captions were far too small and feint and insufficient contrast with the background. The lack of numbering was also unhelpful as was the placement of the captions. Overall we were very disappointed as we had heard and read so much about this exhibition and were really looking forward to it.

marie ledan

Exhibition like Gauguin (or the Miro's coming) should be at Tate Britain, I am expecting more contemporary exhibition at Tate Modern like you did with Cildo Mereiles, Francis Allys... and what about sculptures exhibitions?

John Cooper

Enjoyed exhibition, can live with crowds but where was " Roses and statuette " from Rheims ? which would have been an interesting contrast and a good reminder of similarity between G's work and van G's at that time. I would have loved to have seen the Prague version of Bonjour M.Gaugin at least mentioned as I think it is a better picture !! Otherwise well done !!


Great exhibition apart from the crowds. TOO BUSY !


Exhibition space too small, the crowding did detract from my enjoyment. Ended up viewing the exhibition in a haphazard way, basically where ever a space appeared i went into it. Paintings are great to look at if you can actually see them, but you have to question why bother with the hassle and would you be better admiring the paintings in a book from the peace and comfort of your living room. Stressful experiences like this are not going to get the public excited about art.

Bridget Knight

We enjoyed the exhibition but on the day we visited there were far too many people and this did detract from the experience.


I'd like to focus on the organisation of the exhibition rather than the content because how things were done detracted from what was on show. I've never been to the Tate Modern before, so the gallery and exhibition were both new to me. Given the enormous space of the gallery, it was inexplicable to locate the vast collection of Gaugin's works in relatively small rooms. The little signs besides paintings were totally inadequate for their purpose. The seating was insufficient. The lighting was too low. Rooms were not clearly numbered above entrances. There was too much text on entry display boards which halted traffic flow. Some of the text itself was pretentious. 'Nevermore', was on the catalogue cover but unavailable as a print. Apart from this, I got soaked in the deluge on the bridge to the gallery. However, all these negative points were more than balanced by Gaugin's works. Overall, Gold star for effort, silver star for content and bronze for layout.


Our group of 4 enjoyed the contents of the exhibition, which we visited on 16/1 and we learned a lot. I agree with others' comments, however, that it was overcrowded, despite tickets being for allotted times. The captions were difficult to read, with some of the letters worn away, and the added congestion and impediment to easy movement of baby buggies and the cries of babies and bored children spoiled the experience further. Why were visitors allowed to take photos? This blocked views of exhibits, sometimes for several minutes. Surely better for the museum to encourage the sale of their books.

Jessica Clark

I very much enjoyed the paintings, particularly some of the still lives and the works he did in Brittany. However, it was so overcrowded that it was hard to see many of the paintings and captions. It was partly our fault that we went so close to the end of the exhibition's run but I think that you need to reconsider how you manage visitor numbers.

Mick Carney

Just an echo of many other comments. Enjoyed the paintings, artefacts and what I got to see of the work done in producing a good thematic organisation. However, the visit was so uncomfortable that I didn't feel that I had the opportunity to study those things that, as a painter, I was interested in exploring. Different people have different expectations, different interests and depending on what they are they will visit the exhibition in different ways. With such numbers in the rooms it was impossible to allow those different experiences to be accommodated.


Gauguin'w work only meant something to me after I'd seen a number of stunning portraits and Tahitian scenes in the Musee d'Orsay.

His use of colour and the mood of the paintings struck me only when I saw them on the wall. He'd realised his version of paradise in his paintings and was communicating it.

Before then I'd seen only book reproductions and was just indifferent. So I wanted to catch the Tate Modern exhibition.

I thought the exhibition was good but I came away a little disappointed perhaps because I had high expectations.

Perhaps learning more about Gauguin's relationships & character had a slight tarnishing effect on his work?

Maybe I'm still working through his Breton and Tahitian portraits and asking questions about his motivations.

I think also some of his finest paintings may not have been lent to the exhibition.

However, I'm still thinking about what I saw so in that sense Gauguin and the curators have done their work.

Fizz Fieldgrass

Where do I begin?

1 - The overcrowding was appalling - ok, my fault for not turning up until the last Saturday evening of the show's run? So what is the idea of timed entry for? My assumption was to regulate traffic to make the visiting experience at least comfortable and the hang accessible. Either totally mis-organised or cynically packing 'em in to squeeze the last revenue out of the exhibition are the only explanations that spring to mind.

2 - I concur with many above - the signage, labelling etc was not only too small and badly sited (most you had to bend down to for heaven's sake) but at the end of the show's run many were deteriorating so much that you had to mentally fill in missing letters.

3 - The Theme deal. I have a suspicion that curators are scared to be seen as either conservative or reactionary by dismissing a chronological arrangement as being 'uncool' or not a contemporary enough approach. But in terms of a retrospective exhibition such as this my take is that more than ever to get a sense of history about the man and his developing work along with the complexity of ever changing personal and domestic circumstance, to understand the journey made - both physically and creatively - this exibition more than most screamed out for a chronological application.

I'm glad I was primed by Graham-Dixon's (I think it was he) excellent TV doc which took you on that very journey. This artist would be better suited to an unravelling via Art History first supported by aesthetic appreciation in my humble opinion, not the other way round. Perhaps themes can be explored say in an art movement but perhaps less successfully when an individual's life and work is considered.

And that finally brings me onto my final point. The show was one big hagiography with no attempt to deconstruct motives or talents. Wouldn't it have been more interesting to posit - horror of horrors - that Gauguin was not so much an artist as a con artist. This was kind of touched upon in mentions as to how he did promote his work but could have been debated more.

The idea that maybe - just maybe - as a painter he was not that competent (and his mediocre draughtmanship being excused by saying he was not interested in detail, I think he himself declaring that, seemed to point this up) and he happened upon a usp of taking an exotic location , a garish palette and nubile girls to make a reasonably professional fist of a creative career. And with the evidence of his ceramic and carving work - did he actually miss his true creative vocation and a better manifestation of his talent by not pursuing this more honest and rewarding direction?

I shall love you and leave you to contemplate....


I agree with other comments regarding the crowding. The show could have easily been spread over twice as much floor space and still would have been cramped. Too many painting and too many people for the space allocated.

Mike Barnard

Excellent exhibition although I very much agree with previous views that it was far too crowded and the captions were not best placed and were poorly sized. I particularly liked the side rooms of "life and times" and felt that they added to my depth of understanding of the artist. At the end I felt very reluctant to leave the exhibition and the feelings that his paintings and carvings generated in me, however there was a tinge of regret in that I knew I could have enjoyed them even more with less people around and in a less hot and airless claustrophobic atmosphere.


I went to this exhibition not knowing what to expect, as Gaugin was not an artist I was very familiar with.

This was a wonderful exhibition - probably the best I have evern seen. Gaugin was an amazing artist and I am completely converted!

The only complaint I had was that there were far too many people allowed in at once, making it difficult to see the pictures well and making it claustraphobic.

Mattia Sartori

The exibition was simply fantastic, I must say the combination of all his work before and during the tahiti time really made quite clear the path he was following.

Also very good rooms 3 and 8 with "life and times" : for me not being a formal student of arts made a lot of sense to have a cronological explanation of his life through items of that time.

I think commenting on his work its beyond me, I can simply say he was Great.

thank you for bringing such an amazing artist to the Tate Modern.


In line most probably with many visitors, I have found myself unable to appreciate the exhibition to its full because any attempt of doing so was interupted by complete overcrowding. Popular is one thing greedy is another.

julian firth

Curious to note secessionist shapes and forms, and symbolist lowering lilacs and silvery pinks, circa 1890, but also and I have felt it before, the palette and containing curves of madder Sutherland and early Bacon, was there a comprehensive Gaugin exhibition on in post-war London? Now that we don't go to church so much it was no surprise that there was such a jostle. It is a pleasure for me to remember my Inter-Rail pilgrimages to get me fill of Fra Angelico and Simone Martini and Scheile and Degas,scamming and diving across Europe on a hobo-manque grand-tour. Now finding gaps between the heads of others and contemplative stillness amid the scuffling pong is rewarding too. It's a pity in a way that Gaugin went to Tahiti, swapping subtle derangement for sybirite reverie, but one gets the impression that he had a lovely time,and all the people around me were a kind of oppressive tropical dankness which brought his experience even more to life. Perhaps if there is another fuss about having to queue the most affected could be given a ceramic sun flower seed or two, little relics to celebrate their passion and suffering, what do you think ?


I liked the thematic layout. However, there were so may pictures, artefacts and documents that it would have taken a whole day to look at them properly and I - like lots of other people I suspect - started to feel overwhelmed long before that. Also it was much too crowded.

caroline spooner

I agree with other comments about the picture labelling - too difficult to read, particularly in the dimmed light.If I'd have brought my elderly mother,she wouldn't have been able to read any of it. Also annoying to be grouped together .Enjoyed exhibition and interesting to see different pieces by him,eg.Brittany pictures and wood carvings.


We went at a v. popular visiting time, 6.30 after work,on the final Friday, but were still able to get up close to many exhibits. And you really can't beat being in the presence of the artwork - they seem to emanate some sort of forensic power, which these truly did. I thought the pictures were very well displayed, apart from the labels. However,better viewing management IS required;everyone was good tempered and polite but a few screaming babies in buggies might've tipped me over the edge and I felt a bit claustrophobic once or twice.

Sue Compton

Finally I made it to see Gauguin and was delighted to have done so. It was great to see so many of my loved works displayed together - specially having the pottery and sculpture with the paintings. It was also good in the circumstances to see the work displayed by type rather than simply chronologically, partly because the loans would have made the latter very difficult. I was also interested to find that my usual gripe against Gauguin - that his use of paint is often disagreeable- didn't seem to matter as his wonderful choice of colours mostly overcame the problem. I was fascinated by cat 119 (brooding woman) which was said to have belonged to Degas, as the modelling of the woman's legs was so unlike any other painting because they were aggressively 3-dimensional and very shiny! I wondered whether this might be due to restoration work or Degas himself having had a go at it.... I'm afraid I must add to other viewers who mentioned the difficulty of reading the labels - I'm quite short myself, but even for me they were very low down - very haphazard, and above all, written in such small type that it contributed appallingly to crowding, as one had to wait to get within eyesight distance to read anything. I only wanted to see the name of the museum or collection to which the works belonged and it was extremely frustrating to find it so difficult. There seemed no reason for a lot of the paintings having no label at all but - as a retired curator - I am sure visitors' needs must modify designers' whims in this respect. There was no way I could have read any of the narrative information given on those labels if I had wanted to! Nevertheless thank you very much for a very enjoyable and worthwhile exhibition.

Ilona Jesnick

Really enjoyed the show. I have been 3 times. Once alone, twice with guests. I've been in the morning, before and after lunch, and on a Saturday. Having heard about overcrowding, I was apprehensive on first going but actually, THE CROWDS WERE NOT THAT BAD AND NOWHERE NEAR AS DENSE AS THE HYPE!! Not compared to the recent Van Gogh at the RA which was three times as congested and very difficult to negotiate. There were no queues to enter the Gauguin show, apart from a couple of minutes on the hour and half hour for timed tickets. No queues for a day ticket - I checked at various times as I was in The Tate all day. Certainly no queues to see pictures, which there were for the Van Gogh. I had no problems viewing Gauguin's paintings and some lovely pictures had no one standing in front at all. Where it was a little more difficult, all I did was wait patiently till someone ceded their place and slid into it. My friend and I were able to stand in front of many pictures discussing them as there simply wasn't the jostling crowd described in other comments.

BUT, the first room, with self-portraits, was indeed overcrowded and off putting. However, the rest of the exhibition was much less so. On first entering we skipped the first room, then popped back later - on the quarter hour - when the timed-ticket group had passed through and were easily able to see all those paintings.

I remember your Cezanne exhibition of some years ago being very much more congested and exhausting as there was no timed ticket scheme then.

I'm really sorry that people spent a lot of money on entry and train tickets and were disappointed, but a bit of patience and good humour would have provided a wonderful, rewarding experience. People were smiling and sharing their thoughts about the work with perfect strangers. My Bristol friend said she'd had a lovely day.

My heart usually sinks at the announcement of Blockbusters. I go to all the London exhibitions and compared to some, in this case I HAD A MUCH EASIER EXPERIENCE THAN EXPECTED. My two guests are in agreement. It was fine. Lovely.

Anthony Viney

Gauguin's paintings speak clearly and movingly despite the crowds! I wasn't expecting too much from the exhibition as I knew it was going to be crowded. Yet I was unexpectedly drawn into Gauguin's world by paintings such as .'Harvest Le Pouldu' in room five. His search for an authentic life really found nurture in Brittany and his paintings clearly show this discovery. After seeing that painting I could follow his inner and outer journey in Polynesia and beyond simply by looking at the work. But I realise this experience was mainly due to the power of all his wonderful late masterpieces!


I thoroughly enjoyed the exhibition. I knew very little about Gauguin before the exhibition so I found the commentary very enlightening. I was pleased to come away knowing more about the man, not just more about the pictures. Having looked at all those lovely blocks of bright colours for so long, had there been oilpaints to buy in the shop at the end I would have bought a box - or did I just miss seeing them amidst the large piles of books?

Jennifer Dugdale

I visited the exhibition with a friend who dearly wanted to see Gauguin's work and I enjoyed many of the paintings. However the experience has made me wonder if I will visit hugely popular London exhibitions again. Here are a few of my thoughts. The exhibition was far too crowded. The sheer volume of people in each room made seeing the work quite difficult. Perhaps there is a better way of organising the viewing experience for visitors? When I visited the Uffizi they had a system which involved buying timed tickets but also a system which only allowed a specific number of people into the gallery at any one time. The result was queuing outside for longer but it was well worth it.

Anne Kilduff

I enjoyed the exhibition very much and thought the layout and themed presentation worked very well. It is always exciting to see orginial works and I felt you had a comprehensive collection of Gauguin's well known paintings. I also thought it was a good idea to contextualise his life and works so that his paintings were not seen in isolation. I agree the rooms were very crowded and at times it was difficult to see the text and the paintings, perhaps longer hours are the answer so that numbers could be restricted more. In spite of that I thought it was a very informative and thoughtful exhibition and I'm very glad I made the effort to view it.

Jane Caswell

I'm relieved that other posters have raised the same issues that I wanted to raise and that I'm not just being negative.

I have to say that I found it difficult to enjoy the exhibition due to the extreme overcrowding and being unable to read the small print of the captions. The rooms were too small to be able to appreciate the artists pieces properly and I missed on of the exhibition rooms due to being forced along with the crowd. I came to the exhibition with my Mum, who missed the two central rooms for the same reason (she didnt even see that they were there). Also, was annoying to turn up in what I thought was plenty of time (12.30 for a 1pm entry) with my pre booked ticket, to have to queue with people who hadnt booked tickets and then nearly miss the allocated time.

Howard Monger

Unable to give much of an assessment as in common with other visitors it was impossible to enjoy due to great overcrowding & impossibly small & scattered captions. I had thought the purpose of timed entry was to avoid over crowding. It would be interesting to know how many people were intended to be admitted per half hour slot & if this was abandoned for the final days.

C Long

I enjoyed this exhibition and liked the side rooms that added a knowledge of the life of the ordinary people in the area where Gauguin was living at the time. The variety and quantity of his output was shown and all of the visitors in my group found areas of Gauguin's work to enjoy. It was a very popular exhibition and like many other visitors I also found the size and position of the titles and explanations of his work were not close enough to the exhibit and the print was too small.However this is true of most exhibitions in any gallery but no-one seems to take note of this when arranging their own exhibition. Large groups of french people were also enjoying the exhibits on the day we attended so this exhibition had a wide appeal.

Karl Koch

It did provide an insight into Gauguin's perceptions, particularly interesting the use of Christian symbolism.

Two questions:

1. Why was the final selections of paintings (last room) restricted to such few really brilliant examples?

2. The still life with the Ham had one of the most moronic suggestions ever: 'anthropomorphic suggestions of Salome, head of the Jokannan & dance'? Really?


Agree about the captions and the difficulty sometimes of seeing which went with which picture in crowded conditions. The crowds were terrible - a punishment for leaving it so late in the exhibition's run! However, there was a lot to be gained and I'm very glad I made it. I much enjoyed the colour and vivacity of the whole range. I learned quite a lot. It seemed a bit thin on the Van Gogh link - was this because you felt that had been done to death?

Patricia Lotery

We enjoyed the collection but found the captions too small Each caption should have been by the relevant painting. it was so crowded that it was impossible to get near the captions some of the time. in an exhibition which is so popular, could you not have used more space? The experience was spoiled by the conditions and captions.