Latest editorial
Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
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
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
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
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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