The bard pays homage to his two muses: his wife and his football club
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The ‘father of us all’
As artists like Picasso and Matisse recognised, Paul Cezanne's radical break with tradition was the seed for a new era of modern art, says CHRISTINE LINDEY
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
DAVID MORGAN recommends a refreshingly inspiring novel that features encounters with some tremendous women
IN 1861 Paul Cezanne (1839-1906) arrived in Paris from Provence, then an unfashionable backwater, as a provincial outsider.
Combative and curmudgeonly, he was as vociferous an opponent of aesthetic orthodoxy as he was of Louis Napoleon’s undemocratic, corrupt Second Empire.
His art was so radical that he was in his sixties before a handful of admirers hailed its importance. He’d invented a new visual language which laid the foundation of modern art.
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