The Bard stands with the Reformers of Peterloo, and their shared genius in teaching history with music and song
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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
SUE TURNER is fascinated by a book that researches who the largely immigrant workforce were that built the Empire State
MARIA DUARTE and MALC McGOOKIN review Sirat, The Testament of Ann Lee, EPiC: Elvis Presley in Concert, and All You Need Is Kill
STEVE ANDREW recommends a Marxist analysis of the long chains of production that global corporations exploit
MARY CONWAY relishes the period detail but misses the drama in this unsatisfactory dramatisation of the subjugated life of George Eliot
IAN SINCLAIR welcomes a mainstream scholar to the ranks of left-wing critique of US foreign policy
PETER MASON is disappointed that the eponymous Count fails to put in an appearance
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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