MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
‘The father of us all’
Paul Cezanne redefined modern painting and his influence rippled for over a century
St Victoire
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
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.”
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