Insipid imitations of the great art of classical antiquity seems to be pretty much the assessment of neoclassical sculpture of the 18th and 19th centuries.

Chinless Brits who embarked upon grand tours of Rome during this period would often bring back antique treasures. This also fuelled a profitable market in artworks inspired by, or often just plain copied from, famous originals.

It would hardly be controversial to argue that this period of British art proved to be one of lamentable artistic ossification.

Tate Britain, however, sets out to put the case for neoclassicism and it does so remarkably well.

The Duveen Galleries provide an appropriate neoclassical backdrop, while the smooth white marble glints in the dim, dramatically lit space.

Concentrating not just on works by British artists but also artists supported by British patrons from 1760 to 1860, many of the individual works are far more deserving of attention than might be suspected by one ready to dismiss the neoclassical.

The US artist Hiram Powers presents an impossibly sexy offering in the form of The Greek Slave. One can see why she proved such a 19th-century hit.

In contrast, Joseph Wilton's bust of Dr Antonio Cocchi, so fleshy and jowly of features, is startlingly realistic. It proves to be one of the highlights of this thoroughly illuminating exhibition.

Until Jun 10, Tate Britain, Millbank SW1, daily 10am to 5.50pm, free. Tel: 020 7887 8888. www.tate.org.uk/britain Tube: Pimlico