Edward Burra (1905 to 1976) was an English painter, draughtsman and stage designer. He’s known for his highly stylised, half-modernist, half-surreal depictions of hedonistic France in the late-1920s, the jazz clubs of the Harlem Renaissance in the 1930s, then his brutal, hallucinatory depictions of the Spanish Civil War and World War Two.
This is a fascinating and deeply enjoyable exhibition which takes a straightforward survey of Burra’s career from start to finish and allows visitors the simple but deep pleasure of watching his style change and evolve to reflect the changing world around him – and over a long period, the half century from the late 1920s to the mid-1970s. It brings together 81 paintings and drawings, from Tate’s own extensive Burra archive as well as numerous private collections, along with 80 or so non-art items such as records, magazines, press photos, cuttings and so on.
The curators have divided the exhibition into 6 sections but I actually counted eight specific topics.
- Late 1920s: England and Paris
- Burra’s jazz collection
- Harlem, New York
- Spain
- Spanish civil war
- Second World War
- Ballet and opera in the ’40s and ’50s
- Post-war painting, 1940s to ’70s
- blighted landscapes
- unspoiled landscapes
You could also divide the paintings into 3 broad groups:
- Fun: the 1920s and ’30s
- Grim: the Spanish and world wars, 1936 to 1945
- Bleak aftermath: post-war, ’50s, ’60s, ’70s
Music
There’s yet another way to divide the exhibition – into two halves by music, because there’s a lot of music in this show, and it falls into two really distinct styles. In the first half there’s good-time jazz from America; in the opera room there’s heavy and often tragic classical music from the Old World, whose weighty orchestration carries over into the post-war room.
There’s a lot of both types, in fact Tate provide links to the Spotify playlists which feature no fewer than 20 jazz tracks and ten classical. This vivid aural backdrop lends the exhibition a very strong flavour and the dichotomy between the two completely different soundscapes really emphasises the division between Burra’s early fun, humorous paintings and the tragic intensity of the war work.
Rheumatoid arthritis
Burra was a sick man. As a child he was diagnosed with rheumatoid arthritis and also had a blood condition which caused anaemia. This explains why he lived most of his life in the family home near Rye, East Sussex where he could be given medical supervision. The family home was a substantial mansion with 8 servants and 11 acres of garden.
Watercolours not oil
It also explains why almost all his paintings are watercolours which are painted flat on a table. It’s because painting in oil, on an easel, was painful for him. There are only one or two oil paintings in the whole show. More than once we are reminded of the quote where he says that he found solace in his work because painting was ‘a sort of drug’.
He applied the watercolour thickly in several coats, almost like oil paint in order to achieve sometimes very bright and vibrant colouring. A master of watercolour, he deployed the traditional medium in a bold manner, using bright layers of wash to create graphic and sometimes garish works on a large-scale.
1. Late 1920s: England, Paris, the south of France
Burra studied at Chelsea School of Art until 1923 and from 1923 to 1925 at the Royal College of Art. He got to know some of the Bright Young Things of the period (Brian Howard) and travelled with posh friends to Paris, where he enjoyed the clubs and nightlife, and on numerous occasions on to the south of France, where they visited crowded markets, dockside cafes, bars and dance halls, all of which he painted.
The first rooms display his early paintings from the end of the 1920s, set in England and France. You can immediately see two or three key attributes.

Balcony, Toulon by Edward Burra (1929) Private collection © The estate of Edward Burra, courtesy Lefevre Fine Art, London
1) He’s a satirist. He depicts people, not urban townscapes or landscapes or still lifes – his subject is people and people turned into satirical cartoons. The curators describe this as one of his many ‘knowing parodies of bohemians drawn to southern port towns’. In this respect, similar to Aldous Huxley’s satires on the pretension of posh artistic and literary types during the ’20s.
This of course was a very common approach in the post-war years, particularly on the continent, and especially in Germany, which had suffered most from the war and then carried on suffering economic collapse and social turmoil throughout the 1920s. See my:
Artists such as George Grosz and Otto Dix developed an intense Expressionist style which threw out Renaissance ideals of perspective in preference for nightmarishly perspectiveless images packed with cartoon figures and vivid incidents. This is one of the more lurid ones.
Burra’s works aren’t like this because a) Britain didn’t lose the war and b) Burra belonged to the privileged English upper middle-classes, all private school and posh connections. For people like him life was a lark and trips to the continent were for fun.
2) The second point I’d draw attention to is Burra’s way of moulding and shaping his human figures into semi-abstract curved shapes. Look at the arms or legs of the women in the balcony picture and you can see how they have been changed into smoothly rounded geometric shapes. And how this smoothness of surface and machine-like rounding is conveyed by the use of highlighting. According to the internet:
Highlighting in painting refers to the technique of using lighter colours or tones to create the illusion of light reflecting on an object, making it appear three-dimensional and adding visual interest. It’s a crucial element in creating depth, contrast, and a sense of realism in a painting.
Except that Burra uses the highlighting for the opposite reason, to emphasise the artificiality of his figures, to transform what ought to be complex folds of material or the texture of flesh into the smooth plastic appearance of dolls. This use of highlighting on smoothly rounded contours of the human physique was a dominant technique of his vision, and becomes prominent later.
Queer
In the wall labels the curators describe Burra as ‘queer’. Certainly the many quotations from Burra’s letters are littered with camp phrases along the lines of ‘my dear you should have seen their faces’ and so on. The curators say of this painting of French sailors:
Three sailors at the bar is Burra’s most explicit depiction of the sexual appeal of sailors. Framed by a doorway, Burra pays particular attention to the sailors’ form-fitting uniforms, which accentuate their bodies. The artist and his circle were obsessed by sailors. His friend the [gay] choreographer, Frederick Ashton, recalled that ‘everyone was sailor mad’.
Here’s the painting they’re talking about.

Three Sailors at a Bar by Edward Burra (1930) Private collection, courtesy of Hazlitt Holland-Hibbert © The estate of Edward Burra, courtesy Lefevre Fine Art, London
And yet two reservations. 1) Maybe he was, maybe he wasn’t gay, but Burra kept his sexuality a secret till his death and, despite the best efforts of modern gender-obsessed scholars, we’re still not really sure, apparently.
2) Is the most striking thing about this painting its ‘queer’ ambience? I would have thought the first and overwhelming impression of this painting is its cartoon humour.
Humour
Burra’s early paintings are often very funny. Some reminded me of the humorous artist Beryl Cook, in that they portray groups of people in social spaces, all depicted with cartoon good humour. One of the funniest is of a tea rooms where a couple of prim ladies are being served with tea while behind them all the waitresses are stark naked or dressed in skimpy grass skirts in the style of the cabaret artiste Josephine Baker.
Surrealism
Burra had close links to the British surrealists and you can see the influence on most of his paintings, sometimes dominating the work, sometimes as tell-tale details. As early as 1929 he had befriended the English surrealist Paul Nash and experimented with making elaborate collages at the same time that continental Surrealist artists such as Max Ernst, Salvador Dalí and Joan Miró were also exploring the medium. In 1936 his work was included in the famous His International Surrealist Exhibition in London, as well as the Fantastic Art, Dada and Surrealism at the Museum of Modern Art in New York. In the same year he signed the International Surrealist Bulletin number 4 published by the English Surrealist Group. But he didn’t want to be tied down and rejected the label of surrealist.
2. Burra’s jazz collection
Like all with-it young people in the ’20s Burra was obsessed with American music and culture of the post-war period, especially jazz music which he was obsessed with collecting and reading about. He amassed an eclectic collection of gramophone records, which he listened to in his studio while he painted. Music became an integral part of Burra’s working practice and many of his paintings are infused with the rhythmic beat of his records.
Thus it is that half of the room about his American paintings is taken up with a display of some of the hundreds of records and jazz magazines from his collection. As so often with Tate exhibitions it turns out that there’s a practical aspect to their display because Tate owns the Burra archive. In other words this is an opportunity to dust off records and magazines and put them on display, and very striking they look, too.
This photo shows the display, with ten records from Burra’s collection hung on the wall and the display case containing magazines about jazz from his extensive collection. Note on the wall to the left, the list of 20 jazz tracks which are playing on a loop in this room; and, on the floor, two dark circles. These are because, if you stand exactly on them, the music becomes, in a rather hallucinatory way, markedly louder and clearer.

Installation view of Edward Burra at Tate Britain showing the jazz records and magazine display (photo by the author)
Here’s the jazz track list. Play some while you read this review.
- Lil Armstrong, My Hi De Ho Man (1936)
- Louis Armstrong, I Got Rhythm (1931)
- Cab Calloway, You Gotta Ho Di Ho (To Get Along with Me) (1932)
- McKinney’s Cotton Pickers, Plain Dirt (1929)
- Connie’s Inn Orchestra, You Rascal You (1931)
- Billie Holiday, Billie’s Blues (1936)
- Ethel Waters, Am I Blue? (1929)
- Cab Calloway, When You’re Smiling (1936)
- Lecuona Cuban Boys, International Rumba (1938)
- Clarence Williams, Cushion Foot Stomp (1927)
- Lecuona Cuban Boys, Cubanakan (Rumba Foxtrot) (1936)
- Lecuona Cuban Boys, Dime Adios (1936)
- Duke Ellington, It Don’t Mean a Thing (1932)
- Ella Fitzgerald and Her Savoy Eight, All Over Nothing At All (1937)
- Carmen Miranda, South American Way (1939)
- Lecuona Cuban Boys, International Rumba (1938)
- Lil Armstrong, Doin’ The Suzie Q (1936)
- Mildred Bailey, Down Hearted Blues (1935)
- Orquesta Casablanca, Solea (1936)
- Teddy Wilson and His Orchestra, The Mood That I’m In (1936)
3. Harlem, New York
Despite his passion for American pop culture it wasn’t until 1933, when he was 28, that Burra finally made it to the States. Burra stayed in New York City for several months, frequenting well-known bars, clubs and music halls in the neighbourhood of Harlem, including Club Hot-Cha, the Apollo Theatre and the Savoy Ballroom.
These venues hosted many now-legendary musicians, from Duke Ellington and Louis Armstrong to Cab Calloway and Billie Holiday. Harlem also attracted performers from other countries, such as the Lecuona Cuban Boys.

The Band by Edward Burra (1934) British Council Collection © The estate of Edward Burra, courtesy Lefevre Fine Art, London
In fact the exhibition doesn’t include many works from this period, and they’re not of his best. It’s noticeable how the sophisticated ‘tubular’ style I pointed out in the balcony painting, with its echoes of Leger and the angular anti-perspectives of cubism, is replaced by a more bluntly primitive or naive style.
- Harlem by Edward Burra (1934)
The colourful outfits the musicians and performers wore, as well as the stage design, was of more than casual interest to Burra as he was at the period embarking on what would become a successful parallel career as a costume and stage designer (see below).
Burra returned to the USA throughout the 1930s and 1950s. As well as staying in New York, he spent time in Boston with the writer and poet Conrad Aiken. In 1937, Burra and Aiken travelled to Mexico, visiting Mexico City and Cuernavaca.
This vivid work was painted before he visited Mexico (in 1937) but demonstrates his fascination with Hispanic and Mexican culture, especially the famous Day of the Dead.

Dancing Skeletons by Edward Burra (1934) Tate, Purchased 1939 © The estate of Edward Burra, courtesy Lefevre Fine Art, London
The curators also point out the connection with grim cartoon-like paintings of Grosz but what comes over to me is the humour – cartoon skeletons wearing fashionable hats dancing under a cock-eyed skull moon, what’s not to bring a smile to the lips? Especially considering what was to come next.
Spanish civil war
What came next was the Spanish Civil War, the catastrophic three-year-long conflict notable for its brutality, for atrocities carried out by both sides, which left a million dead, mostly civilians, and a country in ruins led by the Fascist dictator General Franco.
Burra had first visited Spain in the 1933, visiting visiting Barcelona, Granada and Seville, and responded strongly to its strange barbaric atmosphere, describing bullfights in his letters and painting strange, more incantatory surreal works than we have previously seen in the show, such as some strange Max Ernst-like distorted depictions of the Spanish governesses, known two duennas.
But the war triggered in Burra something absolutely new, and magnificent. Remember the smooth rounded contours emphasised by highlighting which I pointed out earlier? This effect returns with a vengeance but in images which are now fraught with heaviness and doom, for example in the shiny rounded shoulders and buttocks of the central figure in this image.

The Watcher by Edward Burra (1937) Scottish National Gallery of Modern Art © The estate of Edward Burra, courtesy Lefevre Fine Art, London
But we’re a long way from larking round in tea rooms and satirising posh bohemians. These figures have more in common with Salvador Dali’s bone figures as found in paintings like Metamorphosis of Narcissus from exactly the same year (1937) but without the space to breathe that Dali’s surreal landscapes give. Instead everything is very crabbed and compressed. The ruined ancient buildings are not exactly like Giorgio de Chirico’s empty townscapes but they have a similar sense of ominous menace.
The exhibition includes a display case of the newspaper and magazine articles and photos which Burra cut and kept about the war. It marked a profound shift in his style, as the reports of death and destruction were filtered through his bizarre imagination. Minatory demons and devils stalk ruined cities, torturers stand guard over the implements of pain, a sort of perspective has been restored but everything is squashed and compressed, some of them make you feel like you’re asphyxiating.
Some of the earlier paintings, from the late 20s, had what you could call a naive surrealist effect, there’s one of a café in the south of France giving a sort of cubist cut-up splicing together images of a man’s cap, a hand holding a cigarette, an out of proportion ship coming through a window.
But all his early social satire now looks silly and superficial, and even the wackiest of the surreal works look polite and respectful, compared with the new Spanish war paintings, which take you into a completely new, grubby, ruined nightmare-land, populated by ominous figures.
And none of the figures are facing the viewer. In painting after painting the main figures are turned way and so are faceless. They have become anonymous figures of power and abuse.
Second World War
Then, as you read in so many memoirs of the time or introductions to a book like Writing in a War, the Spanish war had barely staggered to its pitiful conclusion (April 1939) before, after a summer of mounting tension, war right across Europe broke out in September.
The style Burra had created for the crushing brutality of the Spanish war rolled right on to be applied to the new world war. He continues the sense of a compressed, claustrophobic space in which distorted globe-limbed humanoids vaunt across the landscape. It’s like a science fiction nightmare.

Soldiers at Rye by Edward Burra (1941) Tate © The estate of Edward Burra, courtesy Lefevre Fine Art, London
The curators usefully write:
At home, on the south coast of England, Burra experienced the war first-hand. He witnessed heavy aerial bombardments, and the presence of Allied troops stationed in and around Rye before their deployment to the front. Wartime restrictions left Burra increasingly isolated from his friends. He was also in pain due to rationing of medicine to treat his rheumatoid arthritis. His outlook, already changed by his experience of civil war in Spain, became darker still.
The beaks
You will have noted another stylistic change, the red and orange bird beaks of the monstrous humanoids. These are one of his moat distinctive and brilliant inventions. There aren’t many of his war paintings here – maybe he didn’t do many, maybe they’re all in inaccessible private collections – but the beak image is prevalent, and says something phenomenally powerful and baleful.
A clue is provided by a letter he wrote to his friend Billy Chappell in 1945 and which the curators quote from:
“The very sight of peoples faces sickens me I’ve got no pity it realy is terrible sometimes Ime quite frightened at myself I think such awful things I get in such paroxysms of impotent venom I feel it must poison the atmosphere”
“The very sight of peoples faces sickens me”, there you have it. His figures are either turned away or, if we do see their faces, as in some horror nightmare they turn out not to have human faces at all but to be some kind of hideous, bird-parrot-satirical distortion.
Bottoms
On a completely different tone, there’s an upside to all these (generally male) figures turned away from us, quite a few of them bending over. The friend I went with (a straight woman) said she’d never seen so many firm round bottoms in an exhibition before. Firm and round and shiny while at the same time placed in a ruined, war environment. Take the 1937 painting Beelzebub. Even war has its upsides.
Ballet and opera in the 1940s and ’50s
In the war room we had left behind the soundscape of 1930s jazz and started to hear the tragic, heavy, earnest tones of classical music. This is because we step into the next room to discover a space devoted to exploring Burra’s extensive work as a theatrical designer and in which is playing a loop of ten tracks from classical operas and ballets.
The room is divided into clusters of photos, sketches, drawings and so on each based round a particular production. In fact Burra had started producing stage and costume designs as early as 1931. The works here range from Day in a Southern Port in 1931, through the 1944 one-act ballet ‘Miracle in the Gorbals’, to productions of classics such as Carmen and Don Juan, up to the 1955 David Martin musical, ‘Simply Heavenly’.
My favourite was the designs and photos for a production of the Canterbury Tales as a ballet. Burra developed into a successful designer, working with the Royal Opera House, Sadler’s Wells and Ballet Rambert. Here’s a painted design for the West End musical ‘Simply Heavenly’.

Simply Heavenly Scene in Harlem by Edward Burra (1957) Private Collection © The estate of Edward Burra, courtesy Lefevre Fine Art, London
As you can see, the design looks remarkably like one of his Harlem paintings, only with more spatial sense. But the influence worked both ways. If his approach to painting leaked into his stage work, the sense of a stage set, the lack of depth, the vividness of detailing, and the depiction of his figures in highly stylised postures resemble his stage sets and the balletic actions of the dancers on them.
As to the music, the tracks playing on a loop in this room are taken from the ballets, operas and stage shows which Burra created designs for and are, in chronological order:
- Constant Lambert, The Rio Grande, for Day in a Southern Port (1931)
- Arthur Bliss, ‘Overture’, for Miracle in the Gorbals (1944)
- Arthur Bliss, ‘The Girl Suicide’, for Miracle in the Gorbals (1944)
- Georges Bizet, ‘Habanera’, for Carmen (1947)
- Georges Bizet, ‘Marche du Toreadors’, for Carmen (1947)
- Richard Strauss, Excerpt from ‘Don Juan Op. 20’, for Don Juan (1948)
- Richard Strauss, Excerpt from ‘Don Juan Op. 20’, for Don Juan (1948)
- Roberto Gerhard, ‘No. 5, Scene 5’, for Don Quixote (1950)
- David Martin, ‘Broken Strings’, for Simply Heavenly (1958)
- David Martin, ‘Paddy’s Bar’, for Simply Heavenly (1958)
Post-war painting, 1940s to ’70s
The final room has to do quite a lot of work because it covers the thirty years from the end of the war in 1945 to Burra’s death in 1976, thirty years. The theme or topic the curators focus on is Landscape. The room features 20 or so paintings of the English landscape but with a twist.
The twist is that Burra chose to depict the relatively unspoilt and verdant landscape of his youth being slowly despoiled and degraded by the encroachments of modern world, in particular motorways and traffic. Believe it or not, this artist who had devoted so much time to the human figure in the 1920s, 30s and 40s, now switched to depicting views of the English landscape riddled with A roads along which lumber car and lorries and coaches and motorbikes in an endless stream of pollution and noise.
Landscape spoiled
Here’s one of the ten or more later works which show how the once lovely landscape has become ruined by gas stations, cheap metal gantries and plastic rooves and petrol pumps and tacky shop fascias.

Cornish Clay Mines by Edward Burra (1970) Private Collection. © The estate of Edward Burra, courtesy Lefevre Fine Art, London
The trouble with works like this is that they are as charmless as the objects they depict. They’re sort of interesting as an idea, a concept for a series. And they retain his interest in texts and signage, written signs being something that fascinated him from his earliest works, to be found in the background of his 1920s cafes and townscapes. But without the charm.
Landscape unspoiled
However, in among these cluttered and not very likeable images, there’s a handful (I counted three) works which capture the quiet beauty of the English landscape. This one is by far the best, though there’s an attractive depiction of Dartmoor littered by granite rocks, as well.

Valley and River, Northumberland by Edward Burra (1972) Image courtesy Tate Photography © The estate of Edward Burra, courtesy Lefevre Fine Art, London
Thoughts
Tate owns the Burra Archive, which explains the records and display cases of magazines etc. But a good number of the paintings themselves are in private collections. In other words this is likely to be the best exhibition of works by this eccentric but brilliant painter in our lifetimes. Crack along and see it and be amused, entertained, horrified and then strangely beguiled, in that order. And you can tap your toe to the 20 jazz hits while you’re at it.
Related links
- Edward Burra continues at Tate Britain until 19 October 2025
- Exhibition guide
- Edward Burra’s Dark Side : The Danse Macabre


