Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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‘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]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
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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