MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
Latest editorial
‘The father of us all’
Paul Cezanne redefined modern painting and his influence rippled for over a century
(Left) One of the last versions of Mont Sainte-Victoire painted in 1906 the year of his death; (right) Paul Cezanne, September 12 1899
[Wikipedia]
MARTIN HALL examines the way the Roman orator took on different schools of philosophy
ALEX HALL is amused at the way the UFOs appear exactly where commercial interests, conspiracies, militarism and right-wing media overlap
ANDY HEDGECOCK is astonished by a portrait of contemporary Greece, complete with political protest, organised crime and people trafficking, told from the point of view of — wait for it — runaway poultry
MICHAL BONCZA and MARIA DUARTE review Eagles Of The Republic, The Balloonists, Star Wars: The Mandalorian and Grogu, and Tom Clancy’s Jack Ryan: Ghost War
TOMASZ PIERSCIONEK is intrigued by a the changing significance of its vast areas of forest to Russia’s history
FOR 18 years, between 1888 and 1906, Paul Cezanne kept returning to the Mont Sainte-Victoire, fascinated by the rugged, bare rock face of this 1,011-metre-tall mountain near his home town of Aix-en-Provence at the foot the southernmost tip of the Alps.
He may not have climbed it once, but in its shadow he did relentlessly reach for a different peak — an ultimate rendition of an infinitely complex visual experience.
“Look at Sainte-Victoire there. How it soars, how imperiously it thirsts for the sun,” he once commented. “For a long time I was quite unable to paint Sainte-Victoire; I had no idea [how] to go about it.”
Similar stories
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
JAN WOOLF invigilates images that meditate on Palestine, and the people who witness them
New releases from Kennedy Administration, Melanie Pain, and Afton Wolfe
JOHN GREEN welcomes a remarkable study of Mozambique’s most renowned contemporary artist