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Many of the works in the show have been hung together to demonstrate their structural similarities, such as Emin’s Black Cat (2008) and Munch’s The Death of Marat II (1907) © Nicky J Sims/Getty Images As an MA student at the Royal College of Art in 1989, Tracey Emin carried all of the paintings she could from her studio and smashed them to smithereens with a sledgehammer in the college courtyard before throwing what was left into a skip. The mangled canvases formed part of what she has since called, only half in jest, her “Byzantine-Fresco-Munch” series. Unapologetically indebted to Edvard Munch, these formative works directly address the artist born exactly a century before her, who shared her obsessive compulsion to plot the precarious terrain of psychic life.

Norway generalUnited kingdomBruxelles capitaleCity ofEdith devaneyTracey eminMunch museetKari brandtzGustave courbetMathilde tulla larsenCharlotte cordayEdvard munchNickyj sims gettyJacques louis davidMunch museumRoyal college