Edward Burra at Tate Britain review

Edward Burra described painting as a ‘sort of drug’, a tonic to the rheumatoid arthritis that plagued his daily existence. Under its influence, he became one of the great observers of the twentieth century, creating vivid and surreal scenes that captured a rapidly changing society.

The latest exhibition of Burra’s work at the Tate Britain, the first retrospective of the artist in over a decade, covers his expansive 50-year practice and includes works from his diverse travels across Europe and America.

Edward Burra Minuit Chanson 1931 Private Collection.

It is divided chronologically into the different stages of his artistic life and supported by a rich library of newspaper clippings, sketches, music and literature. These additions help to situate the viewer in time and place, whilst giving an interesting insight into the interplay of first-hand experience and memory in Burra’s creative process.

The exhibition does an excellent job of demonstrating the myriad styles and subjects Burra worked with, from the vivid depictions of crowded jazz bars during the Harlem renaissance, to set designs produced for the Royal Opera House and Sadler’s Wells, and otherworldly UK landscapes haunted with post-war anxiety.

Edward Burra, John Deth (Hommage to Conrad Aiken) 1931 Whitworth Art Gallery.

It is Burra’s scenes of the Harlem renaissance and 1930s America that are the most eye-catching. On a visit to New York and Boston he immersed himself in vibrant music, cabarets and nightlife with an enthusiasm that’s evident his art. Lively scenes burst with characters from gospel choirs, jazz bands and salsa dancers, the perspective collapsed to fit in as much action into the frame as possible.

Known for his watercolours, Burra uses the medium boldly, with bright colours and clearly defined edges. In these Harlem scenes, this sharpness juxtaposes the works’ surrealism, reminding us of the gritty metropolis and often harsh reality of twentieth century urban life that sits just below the surface.   

Edward Burra, Landscape, Cornwall, with Figures and Tin Mine 1975. Private collection.

Later rooms focus on the cultural and historic moments Burra encountered, such as the Spanish Civil War. His style feels more at odds with these times of conflict. The caricatures of soldiers and grinning devils peering down from above have an uneasy and confusing air, and explanations of Burra’s own political views are scant.

The final room displays landscapes of post-war English countryside, painted in the year before his death. Due to declining health, Burra’s travel was limited to driving tours of Britain and Ireland. In search of sublime natural beauty, he turns away from the busy, urban scenes of his earlier artistic career. These works are more subdued and fragmented, with a haunting air that evokes the anxiety of the post-war industrial revolution.

Date: 13 June – 19 October 2025. Location: Tate Britain, Millbank, London SW1P 4RG. Price: from £18. Concessions available. Book now

Review by Ellen Hodgetts