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MARIA DUARTE picks the best and worst of a crowded year of films
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
JOSEPHINE BARBARO welcomes a diverse anthology of experiences by autistic women that amounts to a resounding chorus, demanding to be heard
PAUL BUHLE recommends an eminently useful book that examines the political opportunities for popular anti-fascist intervention
PETER MASON is entertained by the autobiography of Charlie Harper, one of punk’s most enduring figures
JAMIE BRITTON reaches for the sick bucket as he is forced to engorge detail after detail of the Royal Family’s wealth
STEVE JOHNSON picks his favourites from the many memorable albums of the year, and one stunning new festival
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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