RITA DI SANTO draws attention to a new film that features Ken Loach and Jeremy Corbyn, and their personal experience of media misrepresentation
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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
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JULIA TOPPIN recommends Patti Smith’s eloquent memoir that wrestles with the beauty and sorrow of a lifetime
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
KEN COCKBURN guides us through a survey of Chekov’s early short fiction, and the groundwork it laid for his later masterpieces
ANDY HEDGECOCK revels in a hugely enjoyable but deadly serious examination of the 1930s, that is an indictment of our own era
The bard distills our hellish times into fiery words
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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