MATTHEW HAWKINS applauds a psychotherapist’s disection of William Blake
‘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] 
New releases from Christina Alden and Alex Patterson, Odette Michell, Clementine Lovell
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Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
RON JACOBS welcomes a timely homage to one of the IWW and CPUSA’s most effective orators
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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